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The Power of Love
- 708 statements
- 134 feature instances
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The Power of Love is a curious thing. It makes one man weep, and another man sing. It can change a hawk to a little white dove. Bring inanimate objects to life. It might just save your life. It makes people want to give up personal freedom to belong to each other. Don't you dare mock it, it's more than a feeling, that's the Power of Love. Even more than The Power of Friendship and The Power of Family, the Power of Love can be applied in dire situations to make things better. In fact, in many Disney movies it's the solution to everything. It's also an occasionally useful Deus ex Machina. Common applications of the Power of Love include activating an Empathic Weapon, freeing a loved one from mind control, strengthening a loved one, and converting a Real Death into a Disney Death. Even when the power of love is not literally and directly responsible, the scene is often set such that the audience is left with the impression that it was "really responsible". Although, Love is more powerful than magic as it usually helps break spells. Don't You Dare Pity Me! can sometimes be overcome by the Power Of Love; however, it may take time, and the love itself must be purified of any pity it does contain. The Green-Eyed Monster may come into play. In more idealistic shows, it is a sign of an immature love, where trust and faith is insufficient. However, more cynical shows may treat it as normal, and even let it overcome Cannot Spit It Out. In cynical times, this can feel like a rip-off. It depends on where you, and the scene in question, fall on the Sliding Scale of Idealism Versus Cynicism. Love Redeems evil but it can also turn you evil. Combining the two, it can support said baddies. Sometimes, love for someone who's threatened can give someone a Heroic Second Wind, especially a Mama Bear/Papa Wolf. A more passive but no less impressive display of the Power of Love is its ability to use the Red String of Fate to reunite the reincarnated lovers. A Super-Trope to Heart Beat-Down, True Love's Kiss, and Sexually Transmitted Superpowers. A Sister Trope to Light 'em Up (light based powers) and Holy Hand Grenade (holy powers) which are generally good. Compare Care-Bear Stare which includes all positive feelings (happiness, peace, love etc). Compare and contrast with The Power of Lust. Contrast with The Power of Apathy and The Power of Hate. Occasionally classified as one of the Elemental Powers. As seen with The Four Loves, the word "love" can be used in several different ways, including for family, for friendship, or simply unconditional self-sacrifice just to do the right thing. However, this trope primarily refers to romantic love, partly because the English word "love" is taken to mean romantic in non-familial contexts. |
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The Power of Love / int_1097de77 | type |
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"Immortal" by Marina Diamandis says that love is the only thing that transcends death and the end of the world. | |
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In Draw with Me, this is what compels the boy to break through the glass, and later the girl to cut off her hand. | |
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Frank and Sadie Doyle of The Thrilling Adventure Hour have conquered a fair share of supernatural baddies through the power of their love. A Valentine's Day special dedicated to them featured the Doyles blowing up a succubus after it tried to devour their love, attracting the attention of Freya and Bacchus because an oracle declared their love the strongest of all, and thwarting a Will o' the Wisp from stealing their souls before it even started by the simple fact that their souls belong to each other. | |
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Subverted in Harbinger. After Torque develops feelings for Faith he becomes weaker because his power comes from his own insecurity. | |
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Chloe in Eerie Cuties, being a succubus and all that can enjoy it... very much... to Glowing Eyes and Dramatic Wind. | |
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X-23: Despite everything the Facility did to break her and forge her into an emotionless killing machine, it was Sarah Kinney's love for her as a daughter, defying orders to not treat her as a child whenever she could by reading to her and offering an emotional connection that saved her humanity and helped her break free of the Facility's control. | |
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Surprising, given the style of the play, but in the final scene of RENT, death is converted to Disney Death by a love song. | |
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In Brigadoon, Tommy asks if "a stranger like... well... me" could choose to stay in Brigadoon. Mr. Lundie replies: "A stranger can stay if he loves someone here — not jus' Brigadoon, mind ye — but someone in Brigadoon enough to want to give up everythin' an' stay with that person. Which is how it should be. 'Cause after all, lad, if ye love someone deeply, anythin' is possible." Fiona comments, "I think I like that part best," clearly anticipating the show's happy ending. | |
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At the end of the 1910 Edison Studios adaptation of Frankenstein the monster fades into nothing while standing in front of a mirror. When Dr. Frankenstein looks in it he sees the monster's reflection, but his better nature and love for his wife make it change back into his own. | |
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The love Hercules feels towards Meg pushes him to lay down his life and attempt to rescue her soul from the Underworld. His sacrifice proves that he is indeed a true hero and restores his godhood, allowing him to both save Meg and return to Olympus with his fellow gods. His saving of Meg stands out among his countless other heroic deeds in that it was motivated not by a desire to be famous or to return home, but rather by his selfless desire to save the one person in the world he cared for the most even if it killed him, which is explicitly pointed out to him by Zeus to be the true measure of what makes a hero. | |
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Barbie and the Magic of Pegasus: The Wand of Light can only unleash its power for good and good alone; if used with negative emotions such as anger, it refuses to work. Annika had to figure that out the hard way. | |
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In The Naked Gun, Frank's power of love breaks Jane's Mind Control. | |
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The Power of Love / int_23945975 | type |
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The trope frequently pops up in the Disney Animated Canon (and in Disney in general). Lilo & Stitch 2: Stitch Has a Glitch has perhaps the best designed example: Near the end of the movie, Stitch sucumbs to the glitch and finally shuts down. Lilo and the others mourn him so deeply that their Love and Sorrow seemingly overturn Death itself. Jumba even admits that there is no scientific explanation, declares it a miracle, and celebrates. Sleeping Beauty: Chillingly, Maleficent is one of the few villains who knows how powerful love is. Rather than trying to undo the True Love's Kiss Curse Escape Clause, she decides to build it into the Ironic Hell she's arranged for Prince Philip. She gives him a terrifying Hannibal Lecture about how she'll release him once the full hundred years have passed, so that Aurora (who has slept in Narnia Time) will awaken to a broken, decrepit old man. If it weren't for the fairies' meddling, love would've kept Phillip going before destroying him. The Sword in the Stone: Merlin tells Wart that love is a powerful force after a lovelorn female squirrel becomes heartbroken when Wart is transformed back into a human. Disney's Beauty and the Beast where the Beast, seemingly dead, is revived and turns into a Prince when Belle tells him she loves him. While love doesn't actually accomplish anything supernatural in the Aladdin films, the fact that genies can't cause people to fall in love puts Love on the same level of greater-than-phenomenal-cosmic-power as Life or Death. The love Hercules feels towards Meg pushes him to lay down his life and attempt to rescue her soul from the Underworld. His sacrifice proves that he is indeed a true hero and restores his godhood, allowing him to both save Meg and return to Olympus with his fellow gods. His saving of Meg stands out among his countless other heroic deeds in that it was motivated not by a desire to be famous or to return home, but rather by his selfless desire to save the one person in the world he cared for the most even if it killed him, which is explicitly pointed out to him by Zeus to be the true measure of what makes a hero. In Frozen (2013), an act of true love is the only thing that can save Anna from turning into solid ice. And in a surprising twist for a Disney movie, the act of love is not True Love's Kiss, or even romantic love, but Anna sacrificing herself for her sister Elsa - an act of true familial love on Anna's part. Love also turns out to be the trigger that allows Elsa to control her ice powers. |
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In Epistles of John, John stated that God is love, and whoever does not love does not know God. | |
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In Wolfwalkers: Wolfwalkers normally need to be asleep to let their spirits become wolves. Although it helped that Bill was straining against his neck chain to the point of passing out, his sheer paternal need to protect his daughter from the Lord Protector allows him to shift into his wolf form in the nick of time. | |
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The Christmas Toy uses this near the end. Mew is seen out of place and as a result is frozen. This causes Rugby to realize how much of a jerk he'd been to Mew, who'd been nothing but helpful to him throughout the film. Rugby glumly sings a song about how much he loves Mew, and this thankfully brings Mew back to life. Then we see the other toys in the playroom singing the same song and bringing the other toys who'd been frozen back to life as well (how they knew about the magic song that brings frozen toys back to life before Rugby came back in and told them about it is never explained). | |
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Speaking of Osborn, The Power Of Love (for his son Harry) once turned Norman sane after he relapsed as the Green Goblin. Both the sanity and the love failed to stick. | |
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In one of the possible endings of Today I Die, love gives the protagonist strength to survive. | |
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Sleeping Beauty: Chillingly, Maleficent is one of the few villains who knows how powerful love is. Rather than trying to undo the True Love's Kiss Curse Escape Clause, she decides to build it into the Ironic Hell she's arranged for Prince Philip. She gives him a terrifying Hannibal Lecture about how she'll release him once the full hundred years have passed, so that Aurora (who has slept in Narnia Time) will awaken to a broken, decrepit old man. If it weren't for the fairies' meddling, love would've kept Phillip going before destroying him. | |
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In The Matrix, it appears that Neo's transformation into The One is sparked by Trinity telling his mostly-dead body that she loves him. However, the Power of Logic is also implicated: She loves Neo. She was told by the oracle that the man she loved would be the One; therefore, Neo is the One. The One would not be dead; therefore, Neo cannot be dead. And the fact that the sensation of Trinity kissing him makes Neo realize that despite the Matrix input, he isn't actually dead, so it makes sense. A recurring theme of the sequels is how the Machines who control the Matrix have a poor understanding of love. The Architect in The Matrix Reloaded tries to force Neo’s hand with a Cold Equation but Neo’s love for Trinity proves too strong and illogical for the Machines to drown out. The Analyst in The Matrix Resurrections tries to exploit the power of love by placing Neo and Trinity just out of reach in the simulation and thus creating extra power from their emotions, but playing with fire in such a manner eventually backfires. |
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Cucumber Quest: Love plays an important role in the climax of Chapter 3. Sir Carrot starts seeing himself as The Load for being a total coward, thinking that he's useless to his friends and Princess Parfait. But when he finally reads the Love Letter that he lost to the Guardener, he learns that he's the reason why Parfait continues to endure her captivity, which causes him to gain his courage and level up. Parfait powering Carrot with her love and faith through their lockets takes it further and transforms Carrot's hodgepodge knight uniform into a shiny suit of heart-themed armor that grants him the ability to use magic weapons. All this is what allowed him to stand a chance against a Hocus Crocus-powered Rosemaster. | |
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In The Wolfman (2010), Lawrence's feelings for Gwen bring out what's left of his humanity, but only right before Gwen "sets him free." | |
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8-Bit Theater: Subverted in this strip, where Black Mage explains that his Hadoken spell isn't so much powered by love as with love, in that it siphons some love out of the universe every time it is cast. Black Mage himself isn't sure how much, but he's given to understand the divorce rate ticks upwards with each blast. Also, he got the spell by sacrificing nine orphans to a god of evil. | |
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Scott Pilgrim: In Volume 4, the "Power of Love" manifests in the form of a flaming sword Scott earns upon confessing his love to Ramona... but the trope is eventually Subverted because loving Ramona isn't enough for Scott to surmount the last Evil Ex. That requires the far more important Power of Understanding, which Scott gets from seeing how similar he is to Gideon, and how that is a very bad thing. In Volume 1, this protects Wallace, Jimmy, and those in the immediate vicinity from the effects of "Last Song Kills Audience", although they weren't in as much danger as the name implies. |
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In the denouement to A Matter of Life and Death, the protagonist wins a second chance at life by virtue of love being the most powerful force in the world of the living, and therefore triumphing over the power of the celestial jury. | |
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One way of looking at the end of Hamlet is that Gertrude has cottoned on to Claudius's plan and drinks the poison to reveal his plan and save Hamlet. If so, this is the only time in the play she puts her son before anyone, including Claudius. | |
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"If You've Got Love" by John Michael Montgomery: | |
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Wonder Woman Vol 1: The power of love allows Steve Trevor to cheat death, three times. At least one of those times he was aided by Aphrodite herself. | |
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DC Pride 2022: The twisted doppelgangers are destroyed by Harley and Ivy expounding on their love for each other. | |
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Yellow Submarine: To defeat the glove, All You Need Is Love. | |
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Disney's Beauty and the Beast where the Beast, seemingly dead, is revived and turns into a Prince when Belle tells him she loves him. | |
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In L'Orfeo, Orpheus's song of love moves Persephone to tears and she begs Hades to let Eurydice go. Hades, while wary of what fate has in store, agrees due to his love for his wife. | |
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In Manborg, love is what gives #1 Man the strength and hope to fight for humanity again. To quote an exchange between him and the Baron: | |
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Used and nicely summed up in the final part of Demonology 101, when Isaac Jenner and Madeline get married. Two Witnesses attend the wedding and one comments on the Power Of Love. | |
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Supervillainess Sahar, in the Whateley Universe. She has a psychic ability to — once she's seduced a Psi — get so close that she can learn to copy that Psi's best 'knacks'. This makes her a ruthless femme fatale, until she falls in love with a mark, Zenith. She doesn't know how to handle that. So it takes a different kind of love — friendship — to get her to finish her Heel–Face Turn. And she gets Zenith back. | |
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Pirates SMP: In the finale, it's revealed that the Corruption is made from and feeds on pure negativity and can be countered by positive energy like the petrification, i.e. Human Sacrifice via being Taken for Granite, which was then regarded to be the "only" way to stop the spread of the Corruption. However, the pirates' recurring friendship and kindness towards Cruppy, Ivy's familiar, in the series manages to give Ivy, the host of the Corruption, enough hope for the goodness of humanity that she is petrified and the Corruption is defeated without the use of Iris' corrupted witchcraft, thus freeing the Faction Isles from the Corruption as well as Iris' machinations to stay in power. It also helps that their concern for Cruppy and their deceased friends who were victims of being Taken for Granite were what drove the pirates to turn against Iris and fight for Ivy in the first place; in other words, The Power of Love has driven the victories against both major antagonists of the series. | |
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Averted, in the DVD version of the Disney film Pocahontas. She invokes this in the song "If I Never Knew You," singing that with their love she thought "Somehow we'd make the whole world bright", but as she notes in the following line, that didn't exactly work out. Much of the hostilities in the film are an unintended result of their relationship, though she regrets nothing. | |
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Cirque du Soleil: Journey of Man uses this trope in conjunction with The Four Loves as The Everyman protagonist/narrator goes on his metaphorical journey through life. The story postulates that a person's fulfillment comes when they hold three metaphorical keys within them: "Dreams, faith, and love." Love turns out to be the most important of them. As a child, he has all three with Affection/Family (represented by his guides, the Flounes) as the source of love, but adolescent rebellion and a desire for Romantic Love as a young adult leads him to pursue the latter via a Deal with the Devil for material gain. Because The Dark Side Will Make You Forget, he loses his dreams and faith along with any kind of love, becoming an aloof middle-aged man alone in the world — then a Vagabond Girl and her companions reach out to him with Friendship. This moves him enough that in accepting their love he not only regains all three keys but also becomes an embodiment of Unconditional Love and a completely fulfilled person who can guide others towards similar enlightenment. | |
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In Yumi's Cells, the Love Cell has a special pink costume and is the most powerful of all Yumi's brain cells. Unfortunately, it was De Powered and put into a coma after a break-up a few years before the story begins. It starts recovering as Yumi finds (potential) new romance. | |
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X-Men: First Class: When Charles is helping all of the mutants train, the most effective memory to focus Erik's powers is Channukah with his mother, before the Holocaust. | |
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In Homestuck, Noble Wolf Bec's love for Jade is so strong that when he sacrifices his body to save her and inadvertently imbues the Big Bad with his own strength and form, said Big Bad is tormented by the feelings of loyalty that were transferred, and can not bring himself to kill Jade when he finds her. As of the End of Act 5 flash, he killed the Courtyard Droll in an act of vengeance, and then laid Jade on her Quest Bed after CD managed to kill her in an explosion. | |
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In Ernest Scared Stupid, trolls can be killed by milk (which represents "a mother's care"). When Trantor becomes more powerful, milk can't stop him. The only thing Ernest can do is to defeat him with "the heart of a child" — unconditional love — and hugging and dancing with him does the trick. | |
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Veteran Green Lantern enemy Star Sapphire and the Star Sapphire Corps that succeed her are fueled by love. If uncontrolled (as can happen when all the power is consolidated into a single person), it is of the insane, possessive, destructive sort, which is why the entity that provides their power is called The Predator, but they run on all kinds of love (be it between a man and woman or a mother and her child or so on and so forth) and the Predator is actually the one that is corrupted by its hosts, not the other way around. One Star Sapphire uses Soranik Natu's love for Kyle Rayner and channeled it to bring him back to life. The Star Sapphire's Badass Creed: |
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In the Brazilian folk tale "The Story of the Yara", Alonzo (a young man on the brink of marrying his love) hears the Yara's song while bathing in the forest's pools. His bride, Julia, begs him not to go back until they're married, for fear of the Yara killing him. He manages to resist the urge to go to the pools for three days because he can't stand to see Julia's tears and anxiety about him. In the end, he survives his encounter with the Yara only because of his love for Julia and the shell full of her singing that she begged him to carry. | |
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The Order of the Stick: Haley becomes able to pick a lock when Elan encourages her. The time when Haley had started speaking gibberish and breaks out of it when she tells Elan she loves him. She had been honestly trying to tell the truth and overcome her mental problem for some time, but finally managed it when her cynicism told her that Elan was going to leave her "just like everyone else" if she didn't recover right now. |
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Averted in Dance of the Dead, after the students (well, MOST of them anyway) manage to escape the school and the zombie infestation, Jimmy and Lindsey share a passionate kiss in front of the school, at the exact same time as the building explodes. The timing would indicate that it's the passion between the two rekindled young lovers that is causing the explosion, but it's really just the metric ton of C4 Coach Keel set up around the perimeter. | |
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The Virtue of Compassion in Exalted. Subverted, however, with Black Claw Style, which is based around the premise that love is a lie. The capstone Charm allows you to rip people's hearts out, and becomes much more powerful if your target happens to be in love with you. Also subverted with Sidereal Charm Shun the Smiling Lady, a charm whose sole utility is to make the target unlovable and make anyone who once loved them fall out of it. This is an entry level power, so many Sidereals just pick it up as a prerequisite to other charms. Then it's just sitting in your panoply, ready to be used at any time... One of the most powerful examples: if an Abyssal Exalted finds and truly cares for their Lunar Mate, almost all of the drawbacks of their state are blown away. |
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Dark Avengers: it's heavily implied that The Power Of Love is all that's keeping The Sentry from unleashing the Void and raining Biblical plagues down on humanity. Unfortunately his wife, Lindy, is terrified of him, and when she tries to kill him in the hope of preventing a mad rampage, that's exactly what she gets. Norman Osborn recognizes that Lindy could set the Sentry off again at any time; unfortunately his solution is to kill her and make it look like a suicide. Initially that seems to work, but the next time we see the Sentry he ramps up to a Suicidal Cosmic Temper Tantrum very quickly and eventually provokes Thor into killing him. The last we see of the Sentry and Lindy is two empty graves, side by side... | |
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In Rio, the power of love is what gives Blu the power to fly. | |
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In the first Harry Potter film (see its main mention under Literature), the sacrificial love protection that protected Harry from Voldemort's curse is taken a step further from the book when it enables Harry to reduce Quirrell to a pile of dust by touching him. | |
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In Superman Reborn Lois and Clark's love (for the partner and for their son Jon) is so strong that it has repaired what was broken. More specifically, the pre-Flashpoint and New-52 versions of Clark and Lois are merged back together. | |
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In The Swan Princess, the only way to break Odette's curse is to make a vow of everlasting love and prove it to the world. Prince Derek does this by defeating Rothbart so that she could live as well as asking for her forgiveness and telling her the reasons that he loves her. | |
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In Dungeons & Dragons: 4th-Edition deities associated with love can grant this power, which focuses on protecting and healing allies. The infamous third-party 3.5 sourcebook The Book of Erotic Fantasy has a more easily-accessible version of the Resurrection spell. The somatic component is kissing the recently deceased, and it only works on someone who you love. |
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Pacific Rim: Because Synchronization requires two people, they have to get along really well with no secrets. | |
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Inverted in Der Ring des Nibelungen, only the one who renounces love will be able to forge the ring that will let him rule the world. | |
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X-Men Film Series: X-Men: First Class: When Charles is helping all of the mutants train, the most effective memory to focus Erik's powers is Channukah with his mother, before the Holocaust. X-Men: Apocalypse: If Charles has a secondary mutation, it would be this — he has the ability to "transform" the people around him into better versions of themselves. His unwavering love and support for his daughter figure Jean allows her to overcome her fears about her Phoenix power, and she fries Apocalypse with deadly efficiency, saving the world and the Professor's life in the process. Magneto pulls a Heel–Face Turn when he realizes that his love for Xavier is stronger than his hate towards human society, which has murdered his family twice over. Peter could've easily returned to his mother's basement and continued wasting his potential after the Final Battle (especially considering that he had decided to withhold from Erik that he's his son), but it's implied that Maximoff was touched by Charles' worry for his well-being when Xavier had created a telepathic link between them while Quicksilver was fighting Apocalypse. Charles hadn't spoken to Peter in a decade, but the former's capacity for love is so great that he had opened his mind to a young mutant whom he barely knows, and he sincerely cared about whether Maximoff got hurt or not. The self-described "total loser" Quicksilver is now a member of the X-Men who can make a positive difference in the world. |
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Believe it or not, this is how Freddy Krueger is defeated in A Nightmare on Elm Street Part 2: Freddy's Revenge. When Freddy possesses the hero of the film, Jesse, and chases his girlfriend Lisa, Lisa states that she still loves him and kisses Jesse/Freddy. Jesse gains the strength to fight Freddy from within and destroy him, regaining control of his body. | |
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One Way Passage is a tragic romance between two doomed lovers — Dan is an escaped convict being taken back to San Francisco by boat to be executed, while fellow passenger Joan has a terminal illness. Throughout the film, Dan and Joan have been making toasts, breaking the glasses, and lying the stems of the shattered glasses on top of each other, as a symbol of their love. Dan and Joan pledge to meet each other at the Agua Caliente restaurant on New Year's Eve. When they land, Dan is taken away to Death Row, and Joan faints, presumably dying. The last scene is at a bar on New Year's. A melancholy Skippy is drinking at the Agua Caliente bar, with neither Dan nor Joan in attendance. Suddenly a sound of breaking glass is heard. The last shot shows the stems of two shattered glasses, one lying on top of the other one. | |
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The parson from Jeff Wayne's Musical Version of The War of the Worlds has something to say referring to this trope: | |
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In Damn Yankees, Joe manages to thwart the devil partly because of his unswerving fidelity to his wife. He spends the final scene cuddling up to her while she sings to him and ignoring Applegate's increasingly desperate pleas for him to renew their deal. | |
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In the DLC case of Phoenix Wright: Ace Attorney – Spirit of Justice, Phoenix argues that a witness was able to arrive at the scene of the crime far sooner than should be possible due to the power of love. Specifically, he saw his bride being attacked and hurried to the crime scene. The normal route would take too long so he took a much shorter and much more dangerous route in spite of a serious injury. Edgeworth mocks the idea, but is shut down by the (happily married) judge, and when the final witness confirms that this actually happened, he's more than a little bewildered. | |
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The Power Of Love allows The Flash to come back from an other-dimensional speedster heaven that no one had ever returned from. Several times. It lets Barry Allen break the Anti-Life Equation's hold over Iris Allen in Final Crisis. Flash-type speedsters rely on this trope to keep them from being absorbed by the Speed Force (the aforementioned speedster heaven). It doesn't necessarily need to be romantic — the paternal bond between Max Mercury and Bart Allen is a beautiful example of such — but yes, the three main Flashes rely on their wives for it. Another case of paternal bond getting used is in DC Rebirth. Wally thought he is permanently trapped in the Speed Force when his "lightning rod", Linda Park, doesn't even remember him; it was Barry Allen, Wally's father figure/mentor, that allowed him to escape. |
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From Ninja High School Jeremy uses this to bring back his friend, Cute Witch turned dark, Mimi. (The story's also a bit of a homage to Dark Phoenix so take that as you will). | |
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In Zombies Christmas Carol Fan and Fred both embody this, and Scrooge's love following his reformation is so strong he heals all of the zombies. | |
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In Poltergeist II: The Other Side, it's the "light of the family" shed by the Freelings' love for one another that repels the Big Bad on the Other Side. | |
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In Peter Pan, Wendy asks if she can give him a "thimble" and kisses him. This actually makes the guy BURST INTO FLIGHT WITH A HUGE SMILE ON HIS FACE, and his feelings for Wendy allows him to come back and beat Hook (with the help of the Darling siblings and the Lost boys chanting "Old! Alone! Done for!" towards Hook). | |
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The Gunnerkrigg Court interlude comic City Face is described by its author as "a story of how love can save the world." It turns out pigeon love and the resulting pigeon babies prevent humanity from bringing about The End of the World as We Know It. | |
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Ennui GO!: As Darcy lies bleeding out after getting harpooned in the gut, she flashes back to the time she met Izzy in college. She then sees how their relationship grew, fell apart, then meeting again and begrudgingly working together and meeting Tanya before stopping to the time their polyamorous relationship began. Soon enough, upon looking back, Darcy manages to rise up and goes to fight Captain Orca again, driven by the love she has for her girlfriends. | |
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The Sword in the Stone: Merlin tells Wart that love is a powerful force after a lovelorn female squirrel becomes heartbroken when Wart is transformed back into a human. | |
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In Frozen (2013), an act of true love is the only thing that can save Anna from turning into solid ice. And in a surprising twist for a Disney movie, the act of love is not True Love's Kiss, or even romantic love, but Anna sacrificing herself for her sister Elsa - an act of true familial love on Anna's part. Love also turns out to be the trigger that allows Elsa to control her ice powers. | |
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In GI Joe The Rise Of Cobra, during the film's climax the Baroness is able to subdue the nanites that are controlling her because her love for Duke is stronger than the nanites' influence over her mind. Looks like love > technology! | |
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Santo vs. la hija de Frankestein: Santo's girlfriend is hypnotized and ordered to cut out his eyes and deliver them to Dr Frankenstein. She gets as far as holding the knife over the helpless luchador's face before this trope snaps her out of it. | |
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Girl Genius: Apparently it's enough to make Agatha wrest control of her body away from the soul of her evil and (literally) possessive mother. Well, that's what it looks like anyway. | |
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The Adventure Zone: Balance: Taako lampshades this by asking up front if the seventh Grand Relic was love the whole time. As it turns out, the power of strong emotions (including love) does exist. Certain inexplicable magical phenomena that the party has witnessed like Hurley healing Sloane of an incurable poison are because strong emotion is an energy unto itself like light, heat, and magic that can affect the physical and arcane worlds. The lich elves that run Wonderland are using this to sustain themselves and keep from descending into insanity by siphoning off the misery and suffering of those around them. Barry and Lup's love for each other and the rest of the IPRE sustains their lich forms. And the Starblaster's bond engine allows Tres Horny Boys to summon loved ones to help defeat The Final John in their final battle against the Hunger. | |
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It lets Barry Allen break the Anti-Life Equation's hold over Iris Allen in Final Crisis. | |
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In the Colour My Series, it's implied that the protagonist's coloring powers are based off of love. Or, rather, the two go hand in hand. | |
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The Fifth Element, where the five central elements in the universe are earth, fire, wind, water ... and love. Could also be a subversion as, according to Luc Besson, the titular element is actually sex. | |
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Brave: When Merida reconciles with her mother Elinor near the end of the movie, this is what "mends the bond torn by pride" and the queen is returned to normal. | |
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Possibly the grandest and most edifying theme of Les Misérables is that this trope is indeed the answer to the evils and suffering of the world. Fantine and Éponine's final words as they escort Valjean to the afterlife: | |
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In Interstellar, Cooper's love for his daughter enables him to transcend time and space to give her younger self the information required to save humanity. | |
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The Hugga Bunch's hugs are a symbol of love, and Bridget wants to keep her grandma healthy so she can keep receiving hugs. After Queen Admira freezes her, Bridget's friends from the Hugga Bunch are able to restore her to normal through hugs. | |
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The Bible: In Epistles of John, John stated that God is love, and whoever does not love does not know God. In Book of Corinthians, Paul writes how talks about the divine love, or Agape that is God's love towards His children, and the love of His children between each other. You'll probably recognize it; the verse is now a stock reading at weddings. |
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Magic: The Gathering The game compares The Power Of Love to the power of rhinos. While Red is the color of all manner of passions and feelings, for practical reasons, the main ones displayed on cards are variants on Unstoppable Rage and The Power of Hate. So it was considered a wonderful step forward in increasing the depth of the color when a card was successfully made about undoing a painful knot of sorrow and pain with rekindled familial love. |
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Girly has loads of this throughout the series, but especially in the final arc, where all the artificial sidekicks explode when exposed to love (except for the sidekick cops, who are armored against love). Half the enemies are taken out by a sex god and his ex-wife, while the other half (including the sidekick cops) are dealt with by a pair of real cops through a combination of Clothing Damage and dirty dancing. The protagonists defeat the Final Boss by having hot, steamy lesbian sex next to her. | |
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In the film version of Stardust, Yvaine's love for Tristan allows her to go supernova and incinerate Lamia. Because of her love, Tristan now "possessed the heart a star" and got bonus immortality too. | |
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Princess: The Hopeful: The Court Of Swords is all about this trope. Princesses of Swords can use their magic more cheaply when either blessing or defending those they love, several of their Charms create flames whose heat is proportionate to the love they feel, and other Sword Charms can detect, renew, or even create True Love. It doesn't have to be romantic love, any of The Four Loves will work. | |
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The tagline for the film Breaking the Waves is "Love is a mighty power", though the film employs this trope in the most horrific manner imaginable. | |
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Disney's Believe states that love is what makes a garden grow, and nurturing the love between parent and child helps Dr. Greenaway's relationship with Sophia grow. | |
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In Mall Fight, Eric brings Connor back to life with this trope. | |
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Hilariously mentioned and subverted in And Shine Heaven Now after Marian, a Parody Sue, attacks the I-Jin of Jeeves and musses up his hair, which he points out is unlikely: | |
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In Next, the precognitive abilities of Nicolas Cage's character only allow him to see up to 2 minutes into his own future, except, for no apparent reason, for one recurring vision that presages the arrival of his eventual love interest. Once he's finally met and slept with her, he can see further ahead than ever before. | |
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In Hook, the grown up Peter regains his ability to fly when he remembers the love and joy he felt when his son was born. | |
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There are few places where TRON shows off its Disney origins, but this and The Power of Friendship overrides even the nastiest brainwashing. In the first, the title character pulls his "counterpart" (equivalent of "wife") Yori out of a repurposed state. In the second... a good, solid look from Flynn pulls him back from twenty years of enslavement. | |
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In the Classic and New World of Darkness: Fetches in Changeling: The Lost are Artificial Humans created by The Fair Folk out of trash and shadow-stuff to replace the humans they kidnap. Consequently they are almost always sterile and their offspring tend to be soulless monsters; the only exception is when a fetch who believes itself to be human has a child with someone they sincerely love. Most Classic World of Darkness systems have a merit called True Love for strong romantic, familial or platonic ties. Its effect usually translates to some more Heroic Willpower when fighting for said love. True Loves in Wraith: The Oblivion can serve as a fetter for the Wraith to enter the physical world, provide emotional sustenance, and inspire Heroic Willpower for possibly the most powerful asset the Wraith has. Vampire: The Requiem suggests that regular contact with a mortal who sincerely loves the vampire should stabilize the vampire emotionally, helping them resist the Sanity Slippage and Frenzy to which the undead are vulnerable. Princess: The Hopeful: The Court Of Swords is all about this trope. Princesses of Swords can use their magic more cheaply when either blessing or defending those they love, several of their Charms create flames whose heat is proportionate to the love they feel, and other Sword Charms can detect, renew, or even create True Love. It doesn't have to be romantic love, any of The Four Loves will work. |
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The Princess Bride references the power of "true love" several times. In the very beginning, Westley asserts that he will be reunited with Buttercup because of the power of their love. Later in the film, he resists deadly torture by becoming only "mostly dead." When his comatose body is asked why he's still "slightly alive," Westley moans, "Truuuuee loooove." Buttercup also asserts that her love cannot be denied, but it's mostly for show. She's ready to kill herself when Westley suddenly appears and scolds her for her lack of faith. | |
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Brother Love: Parodied, inverted, subverted and averted with Bruce Pritchard's gimmick of a smarmy, rosy-cheeked faux preacher. Many times, he claimed to preach "The Book of Love," but it was more a "love" of the WWF's top villains of the late 1980s and early 1990s, including Ted DiBiase and André the Giant, and showing the "power of love" by setting up good guys such as Hulk Hogan for beatings by the heels. | |
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At the end of the 1926 film adaptation of Faust, Faust flings himself onto Gretchen's pyre as she is being burned at the stake, and they are Together in Death. Mephisto believes that he has won The Bet with the archangel and now has dominion over the earth. The archangel holds otherwise, saying that one word has broken Faust's contract with Mephisto, won the bet for the angel, and saved humanity from Mephisto's rule. The film ends with a zoom in on the single word: "LIEBE." | |
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In Krull, the Power of Love manifests itself at the climax as the ability to throw fireballs. | |
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"From the Ground Up" by Dan + Shay is about a relationship that the narrator hopes will still be around 65 years from the present. | |
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In Critical Role, apparently even the Random Number God bends to the power of love. In this universe, by the Dungeon Master's homebrew rules, the resurrection of dead characters can fail based on dice rolls, and anyone attempting a resurrection ritual can make up to three offerings (with associated skill checks) to increase the chance of success. When Percy is killed, Vex admits she's in love with him and kisses him. She rolls a Natural 20 on her skill check, and the ritual ultimately succeeds. Something even more incredible happens at the end of Campaign 2, after the resurrection ritual for Mollymauk fails. As the Mighty Nein begin to grieve, Caduceus sneaks off to a quiet corner to try Divine Intervention, a notoriously unrealiable ability as it requires a player to roll under their Cleric level (15, in Caduceus's case) on a d100, and is essentially the same as praying for a miracle. Caduceus makes a quiet plea to the Wildmother to give his friends Molly back, as they have definitely earned it... and proceeds to roll a 2 on his d100. Matt, unwilling to give him a True Ressurection for free, re-rolls the resurrection die and rolls a 12, high enough for the ritual to succeed. |
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Warhammer 40,000 has the Imperium of Man, the biggest faction in the crapsack universe, and it runs on the Power of Love for the God-Emperor of All Mankind, who never wanted to be a god in the first place, but in his own words "wanted the best for his people". It's also his massive willpower born from love for Mankind that has allowed him to keep the Chaos rift at Terra closed and the Astronomican galactic beacon lit despite getting reduced to an undying corpse. That, and the sacrifice of a thousand souls every day so he can endure such a hellish state. You can see how much he actually cared about Mankind as a whole on the quote attributed to him on the creation of the Grey Knights, his ultimate weapon against the forces of Chaos: Imperial Saints' dedication to the Emperor and acts of Faith in his name actually have managed to save the day for the Imperium on more than a few occasions when all seemed lost. This is actually a game mechanic for some factions, which allow the player to pull the imperial equivalent to some warp powers. Disturbingly, Nurgle the Chaos god of disease runs on a different kind of love: stuff like a mother desperate to save her child from sickness and Friend to All Living Things (someone has to be a friend to plague rats, bacteria and the like) powers him. He's the nicest of Chaos gods, often referred to without irony as Grandfather Nurgle, and is always happy to shower his children with gifts of pestilence and decay. |
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Freaky Friday (2003) has a non-romantic example, in which Tess and Anna must demonstrate familial "selfless love" in order to return to each other's bodies. | |
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Lilo & Stitch 2: Stitch Has a Glitch has perhaps the best designed example: Near the end of the movie, Stitch sucumbs to the glitch and finally shuts down. Lilo and the others mourn him so deeply that their Love and Sorrow seemingly overturn Death itself. Jumba even admits that there is no scientific explanation, declares it a miracle, and celebrates. | |
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Fetches in Changeling: The Lost are Artificial Humans created by The Fair Folk out of trash and shadow-stuff to replace the humans they kidnap. Consequently they are almost always sterile and their offspring tend to be soulless monsters; the only exception is when a fetch who believes itself to be human has a child with someone they sincerely love. | |
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For a split second, it looks as if this trope is going to be averted in the Justice Society of America arc "Princes of Darkness" — Jade's the Power of Love speech to Obsidian fails to halt his evil rampage — but it's really only a set up for their father, the Golden Age Green Lantern, to come in and deliver it successfully. | |
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In Strange Magic, the only thing that can break the power of a love potion is true love. | |
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Richard Wagner's version of the Flying Dutchman trope allows the character — traditionally cursed to sail forever, to be saved by the power of love. According to The Other Wiki, most of of his subsequent operas use this trope too. Inverted in Der Ring des Nibelungen, only the one who renounces love will be able to forge the ring that will let him rule the world. |
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In Orfeo ed Euridice, as a reward for Orpheus and Eurydice's undying love, Cupid brings Eurydice back to life even after Orpheus fails and the couple departs happily. | |
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In Jasper in Deadland, half-lives are so filled with the love of others that being in the Underworld gives them the power to grant their own wishes. | |
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In one Buffy the Vampire Slayer comic, a spell that keeps Buffy asleep can only be broken by the kiss of someone who is in love with her. One of her Slayers, Satsu, does it. | |
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In Giraffes On Horseback Salad, When the Woman Surreal begins falling in love with Jimmy, her Reality Warper powers are quickly amplified to the point where she begins altering the entire world into a surrealistic fantasyland. | |
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Scott Pilgrim vs. The World subverts the trope. Scott gains a weapon called The Power of Love from proclaiming his love to Ramona in the climax. The weapon isn't strong enough, so he dies. On his second attempt, he instead proclaims that he's fighting for himself and gets The Power of Self-Respect, which is vastly superior. | |
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While love doesn't actually accomplish anything supernatural in the Aladdin films, the fact that genies can't cause people to fall in love puts Love on the same level of greater-than-phenomenal-cosmic-power as Life or Death. | |
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In Book of Corinthians, Paul writes how talks about the divine love, or Agape that is God's love towards His children, and the love of His children between each other. You'll probably recognize it; the verse is now a stock reading at weddings. | |
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A more cynical and indirect usage: In the film Ultraviolet (2006), the heroine weeps over a dead boy, causing him to come back to life — because her tears infected him with vampirism. | |
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A recurring theme of the sequels is how the Machines who control the Matrix have a poor understanding of love. The Architect in The Matrix Reloaded tries to force Neo’s hand with a Cold Equation but Neo’s love for Trinity proves too strong and illogical for the Machines to drown out. The Analyst in The Matrix Resurrections tries to exploit the power of love by placing Neo and Trinity just out of reach in the simulation and thus creating extra power from their emotions, but playing with fire in such a manner eventually backfires. | |
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The Book of Life: A major theme of the film. Manolo Sanchez. His voice actor states that his true power is love. |
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In The Inexplicable Adventures of Bob!, love defuses the Woobie, Destroyer of Worlds Galatea, here and here. | |
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MegaTokyo: As with many things, the exact nature and significance of love in the comic is ambiguous, but magical girls appear to draw their power from it, and it's widely known to be a force to be reckoned with: The power of obsessive adoration, meanwhile, is a separate matter altogether, albeit possibly connected. |
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a-ha's music video duology "Take On Me" and "The Sun Always Shines On T.V." shows the protagonist turning comicbook Morten Harket into a real person withher love — and turning him back into a comicbook character when her love for him cools. | |
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In Kubo and the Two Strings, Kubo defeats his grandfather the Moon King by applying a weaponized version of this! | |
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The finale of Abnett & Lanning's run on The Authority depends on this. To go with the Class 2 Apocalypse, there's a horrific and intelligent virus floating around that ends up infecting Apollo, prompting Midnighter to look desperately for a cure. He's called north, eventually finding an island, which turns out to be a giant, Swamp Thing-like Century Baby named Gaia. In return for his help, she gives him an apple, and tells him to remember Avalon, the isle of apples: "The fruit of immortality... of love..." Two pages later, Apollo's fine. | |
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The original HBO synopsis of The Fly (1986) described it as the story of "a scientist who is transformed by love — literally and metaphorically": It begins when he awkwardly approaches a beautiful journalist at a party, their romance inverts Love Makes You Uncreative and allows him to perfect his work, his Tragic Mistake is born of Alcohol-Induced Idiocy when he thinks he's being cuckolded, and as he undergoes a Slow Transformation her willingness to be a Living Emotional Crutch is the one thing that keeps his Split-Personality Takeover from progressing faster; when he realizes he will eventually hurt her without meaning to, he convinces her to leave him. When she seeks to abort the child he's sired, though, his heart and mind break together and render him crazed and wicked... She's saved from Romantic Fusion with him by her ex-lover managing to get a second wind after Seth maims him with corrosive vomit, while Seth ends up a Clipped-Wing Angel who puts his faith in this trope to end his suffering (and, perhaps, atone for his crimes) by communicating that he wants to die by her hand. She obliges him. The song playing in the background during the bar scene, Bryan Ferry's "Help Me", even has the repeated lyrics "There's a power in love/There's a danger in love/But I need love to help me find a way..." | |
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The New Zealand comic Footrot Flats features a scene where the main character, the Dog, finds himself able to walk on water due to his love for Jess, the neighbour's dog note this phrase used to avoid the perhaps-inevitable misunderstandings resulting from the phrase "neighbour's bitch". After this initial success, he demonstrates that there is no such thing as The Power Of Lust, by sinking as soon as he moves from "Love can work miracles!" to "I'm coming baby!" | |
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Also from the pen of Dennis Linde is Don Williams' "Then It's Love": | |
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The Secret of NIMH: Only when her children are in mortal danger does Mrs. Brisby's love and courage become a tangible force, with the Stone as a foci. Even more explicit is the Stone's inscription: You can unlock any door, if you only have the key. According to the Theme Song "Flying Dreams," Love is the key. | |
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Ars Magica: True Love gives a bonus to stay strong in difficult situations and to any action that protects the beloved. It's such an integral part of the character that it can't be affected by magic — though the same goes for other passions that run just as deep. It's also not exclusive to romantic love, so it can be adapted to similarly profound attachments. | |
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This is, ultimately, what the web animated series Broken Saints is all about, and what drives its Earn Your Happy Ending. | |
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Elfquest has this as a recurring theme. It shows itself through all dealings with Big Bad Winnowill, who tries to avoid this at all costs, and stated almost verbatim by all-loving High One Timmain, who almost states that this central trope keeps the Palace in balance. In a Rogue's Curse story arc, Winnowill can't even enter a shard of the Palace -her hate and the love of the spirits within keep her out. | |
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X-Men: Apocalypse: If Charles has a secondary mutation, it would be this — he has the ability to "transform" the people around him into better versions of themselves. His unwavering love and support for his daughter figure Jean allows her to overcome her fears about her Phoenix power, and she fries Apocalypse with deadly efficiency, saving the world and the Professor's life in the process. Magneto pulls a Heel–Face Turn when he realizes that his love for Xavier is stronger than his hate towards human society, which has murdered his family twice over. Peter could've easily returned to his mother's basement and continued wasting his potential after the Final Battle (especially considering that he had decided to withhold from Erik that he's his son), but it's implied that Maximoff was touched by Charles' worry for his well-being when Xavier had created a telepathic link between them while Quicksilver was fighting Apocalypse. Charles hadn't spoken to Peter in a decade, but the former's capacity for love is so great that he had opened his mind to a young mutant whom he barely knows, and he sincerely cared about whether Maximoff got hurt or not. The self-described "total loser" Quicksilver is now a member of the X-Men who can make a positive difference in the world. | |
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In YU+ME: dream , Fiona's decision to attempt to go back into the Dream World to find Lia, especially considering Sadako had banned Fiona from the Dream Land, as well as the possibility that Fiona may never return to the real world if she finds Lia. | |
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Played absolutely straight in Young Avengers, where Billy is unable to fully access his Demiurge powers. His fiancé, Teddy, who had previously left to try to figure out whether he actually loves Billy after Loki insinuated that Teddy may have been accidentally wished into existence in the first place by Billy's powers, returns and decides that it doesn't matter to him whether or not he's alive because Billy subconsciously wanted someone like him to be. After True Love's Kiss, Billy immediately and effortlessly becomes the Demiurge and nonchalantly rearranges the universe the same way most people organize things in the fridge. It's lampshaded in-story. | |
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"Levitate" by Imelda May is another song that uses metaphors of physical power to describe the intensity of romantic love. "I levitate towards you/And the way that you move..." | |
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Vampire: The Requiem suggests that regular contact with a mortal who sincerely loves the vampire should stabilize the vampire emotionally, helping them resist the Sanity Slippage and Frenzy to which the undead are vulnerable. | |
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