a prelude to redgrass, featuring bloodraven and the great usurper, my favourite bastard uncles.
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process video under the cut
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@freezedive
a prelude to redgrass, featuring bloodraven and the great usurper, my favourite bastard uncles.
early access on patreon
process video under the cut
a. Title: Near the Hear Tree b. Author: FezthePalindrome c. Ship(s): Ned/Cat d. Description: Eddard and Catelyn having some more pre-canon outside cuddles, this time in the godswood. (Now with 100% more Old Gods, available wherever feels are sold!)
A/N: The heart tree is just there to watch in a creepy fashion over them.
Digital media, done onartrage and artstudio on the iPad. Also posted on deviantArthttp://fezthepalindrome.deviantart.com/art/Near-the-Heart-Tree-CatxNed-500336235.
Catelyn Stark 🐟🐺
Nettles isn’t just about her connection to Daemon and Rhaenyra.
Nettles isn’t irrelevant she challenges one of the biggest assumptions in Fire & Blood: the idea that dragonriding is an exclusive Targaryen.
People really act like Nettles just showed up claimed a dragon and then did absolutely nothing. Meanwhile this girl spent a huge chunk of the Dance actively campaigning, flying patrols, fought during the battle of the Gullet taking part in military operations hunting Aemond with Daemon in the riverlands for months.
She bond with a wild dragon through patience and intelligence. Instead of approaching Sheepstealer the way a targ prince might she studies him and learns what he wants. She brings him sheep every day until he gradually accepts her presence. It’s one of the most grounded and practical dragon-taming stories in the entire franchise.
Maybe Just like zoo guardians do with wild animals gaining their trust with food?
Nettles’ role complicates many things. Whether she’s a dragonseed or not, her presence in the story forces/pushes us to question the Targaryen-dragon bond really is and what its limits are. If the bond was shaped, engineered, or selectively cultivated over centuries by the Valyrians, can it still be called purely natural? After all, many traits we think of as natural today originated from ancient mutations.
Lactose tolerance for example spread because of mutations that proved advantageous in certain populations. Blue eyes, also trace back to a genetic mutation that appeared thousands of years ago in a single ancestor. They’re natural now, but they still began as specific biological changes.
The same logic could apply to dragonriding. Even if the ability originated through blood magic, magical experimentation, selective breeding, or some ancient Valyrian process, centuries later it might function as an inherited trait. That doesn’t necessarily make Targaryen claims of exclusivity true it just means the origin and the current reality aren’t necessarily the same thing.
So Nettles forces readers to ask questions that the Targaryens themselves don’t want asked. Is dragonriding truly exclusive? Are dragons responding to blood alone? Or have the Targaryens mistaken a tendency for an absolute rule? Nettles doesn’t destroy the theory of dragon blood but as i said she complicates it and sometimes a single exception is enough to make an entire ideology look a lot less certain than its supporters claim.
Rhaenyra calling Nettles “common,” insisting that she has “no drop of dragon’s blood,” and using “spells” she treat her once she is suspected of a sexual relationship with Daemon. This is a clear example of racialized hypersexualization combined with accusations of witchcraft, both of which have deep roots in real-world misogynoir the specific targeting of Black women through intersecting racism and sexism.
Why other dragonseeds are also lowborn, but they are not treated with blood purity language and witchcraft?
Addam was legitimized and recognized. Even after rhaenyra turned against him she still calls him “Ser Addam.” He is ordered arrested, not immediately executed. Hugh and Ulf were knighted and granted lands, the (white) dragonseeds were offered advancement because their ability to ride dragons was politically useful.
Nettles never receives comparable recognition. There is no discussion of legitimizing her, granting her land, arranging a noble marriage, or giving her a noble title. Instead, once suspicion falls on her, the language used against her emphasizes that she has “no drop of dragon’s blood” and must have relied on “sorcery”
This is why Rhaenyra treated her like shit, feared her and attempted to commit racialized femicide.
Rhaenyra's hatred for Nettles isn't just about betrayal or jealousy it's deeper and more personal than her suspicion of Addam and Alyn after the Two Betrayers. She struggles to justify it, theres an internal conflict. Her reaction reads as fear/anxiety of an outsider “isn’t one of us” (meaning pale-skinned westerosi with Andal-Valyrian blood) getting access to power that’s been treated as exclusive to Targaryens like bonding a dragon but also having Daemon’s protection.
Any powerful systems built on exclusivity tend to react badly when someone appears who blurs the line between insider and outsider. Aristocracies panicked when commoners gained access to privileges that were supposed to belong only to nobles. Slave societies feared enslaved people who became educated or politically influential because they challenged the idea that status and ability were naturally linked.
The threat isn’t always what the person does sometimes it’s what they "represent." Nettles represents the possibility that the walls around Targaryen power aren’t as solid as everyone assumed. If a lowborn brown girl can ride a dragon, then maybe - just maybe - dragonriding isn’t as exclusive as the ruling dynasty claims. Maybe the distinction between "dragonlords" and everyone else is less absolute than the mythology suggests.
And because systems built on blood and exclusivity depend on clear boundaries. They need a clear “us” and “them.” Nettles exists right on that boundary, and her very existence raises uncomfortable questions.
The Muppet Show, 1978
Guest Star: Rudolf Nureyev
Just the Swine Lake Sequence
1) That’s Graham Fletcher of the Royal Ballet inside that costume and props to him for what was probably the hardest dance of his life
2) And then there’s this. (Not, that’s not Miss Piggy; she would have karate-chopped Nureyev!)
hooost of dornish speaaarmen
early access on patreon
process video below the cut
Cat & Ned
This is about the sexiness of The Golden Girls but I really feel the need to remind the world of how fucking progressive this show was.
In the episode 72 hours, we find out Rose may have contracted AIDs during an emergency gallbladder surgery.
Rose: Why me, Blanche? I'm tired of pretending I feel okay so you won't say, 'Take it easy', and I'm tired of you saying 'Take it easy' because you're afraid I'm going to fall apart. Dammit, why is this happening to me? I mean, this isn't supposed to happen to people like me. You must've gone to bed with hundreds of men. All I had was one innocent operation. Blanche: Hey, wait a minute! Are you saying this should be me and not you? Rose: No! No, I'm just saying that I am a good person. Hell, I'm a goody-two-shoes! Blanche: AIDS is not a bad person's disease, Rose, it is not God punishin' people for their sins!
In Isn't it romantic? we find out Dorothy's childhood best friend is a lesbian who recently lost her partner. She confesses she has feelings for Rose. Rose turns her down but makes it clear that she still wants to be friends even though she doesn't return those feelings.
Sophia: Jean is a nice person. She happens to like girls instead of guys. Some people like cats instead of dogs.
Jean: Rose, about last night. I should never have said anything. Rose: You only said what you were feeling. Jean: It's just that this last year has been so difficult for me. Pat was the person I planned to spend the rest of my life with. And when she died, I just felt so terribly alone. Empty. I thought I could never care for anyone again. Until I met you. I just got very confused. I hope I didn't make you uncomfortable. Rose: Well, I have to admit that I don't understand these kinds of feelings. But if I did understand, if I were, you know, like you, I'd be very flattered and proud that you thought of me that way.
Ebbtide's Revenge gives us Phil's funeral, and Sophia addressing him wearing women's clothes.
Rose: So what if he was different? It's okay that you loved him. Sophia: I did love him. He was my son, my little boy. But every time I saw him I wondered what I did, what I said, when was the day I did whatever I did to make him the way he was. Angela Petrillo: What he was Sophia, was a good man.
Sister of the Bride, where Blanche's brother Clayton brings his boyfriend to town, because they're planning on getting married.
Blanche: Oh, look, I can accept the fact that he's gay, but why does he have to slip a ring on this guy's finger so the whole world will know? Sophia: Why did you marry George? Blanche: We loved each other. We wanted to make a lifetime commitment. Wanted everybody to know. Sophia: That's what Doug and Clayton want, too. Everyone wants someone to grow old with. And shouldn't everyone have that chance?
There are so many episodes I could sit here and quote but this show is still so important. It isn't perfect, there are jokes that definitely don't land that I will not sit here and defend, but in the context of when it was created? This show is a fucking masterpiece and deserves respect for that.
And this was during the Reagan/Bush years.
I think that this show hit as hard as it did because it was during Reagan/Bush
Scotland and the city of Boston deciding they're soulmates is something I never knew I needed in my life
Live Tessarion Reaction...
...If they'd only paid attention to the dragon's face, a lot of trouble might have been avoided...
TESSARION HOUSE OF THE DRAGON | Season 3, Episode 2
A knight of the Seven Kingdoms season 01 (2026)
I think that out of all the Stark children, Sansa is the most like Ned.
IDK for me it’s pretty even between Sansa and Bran, both are very like Ned IMO. Arya is the most like Catelyn.
LONG LIVE STORM KING LYONEL BARATHEON 🦌👑
(take this very loosely bc i indulged in an aperol spritz before the event began and was going through Something Homosexually Charged the whole time the interview went on but) things Bertie Carvel said tonight at the Italian Global Series Festival event in Rimini:
• he used to LARP, got his first sword at eleven years old (he used to do stage fighting in drama school and absolutely loved it). playing Baelor and standing in a muddy field wearing an armour brought him right back to those happy times
• he's very proud of Baelor as a character and of himself for having brought Baelor to life. he said that if he were to put the characters he's played in a line-up, baelor would stand out because that's him, that's Bertie's face and he seldom gets to wear just his own face. He actually prefers to be just him
• Baelor is very dear to him. the world needs to see heroes and people who show up and do the right thing, now more than ever
• literally waxed poetry about Peter Claffey. said that acting with him was incredibly easy because that's what happens when the people you share your lines with are good. said that Peter and Dunk share a lot of similarities, that Dunk resides in Peter's comfort zone as much as Baelor resides in Bertie's and that made the acting feel natural
• the first thing he asked to the costume department when they did the armour fitting was to have a flap somewhere on the armour. front and back. this dude istg
• he likes playing political figures, especially if he can slip into their minds and build something recognizable that creates a connection between the audience and the "hidden" actor. he was asked if there's a particular politician he would like to play and replied that he usually prefers to be offered a part without him manifesting it. he also misses the selection process and wishes he could get back to experiencing some good old anxiety from competing to get a part
• his family is two generations deep into political journalism. his grandfather (scottish, btw) and father used to write papers about England's political affairs and went on about some hours-long speech politicians used to hold in Parliament, how those men used to take a drink to strengthen themselves before hearing said speech (he mentioned 1947? It was a whole papa beaver situation and it was late, some details about this report are foggy. Forgive Me) and his grandfather asked about what kind of drink it was so that he could have a scoop. the story ends with people resigning and both his grandfather a father dying of a, quote unquote, broken heart
• he was asked something about managing his characters after their story ends and if he imagines their lives after he's done playing them and. he said. that this question made him think about what happens to the letters and e-mails you write but never end up sending. the ones sitting in your drafts. what happens when you delete them? do they stay in the cloud somewhere, is the trace of their existence gone forever? he doesn't know if the afterlife exists but he does keep on loving the people he shared a life with, and the same goes for his characters
• he loves playing Dalgliesh because he's an interesting man, he was dubious about whether the people needed another detective but he got to understand that yes, people love following a detective because we love seeing a mystery get solved. he questioned how come we as creatures on earth think that having a cup of tea and watching a detective solving crime on the telly makes our whole night (he declared himself guilty of being part of this ritual). he actually directed two episodes and needed to work around the library of sound cues that were already been composed, so he got to also stand on the other side of the camera and he's proud of himself for having taken that risk. he defined Dalglish as poetic, deeply sensitive
• when he was asked why he played two characters in The Crown, he laughed and said he needed the money
• he misses the theatre. extensively talked about favoring the theatre over filmmaking because the first demands a slower process, one that counts the audience as an integral part of the play, whereas filmmaking is a fast game, actors don't know which takes are going to be used once they close a set so they have to do the best they can as quickly as possibile. theatre means growth, experimenting, trial and error, and he loves the highs and lows of it
• two wolves live inside of him: one that wants the script to be the only sacred text he refers to when playing a character and the other that researches to the point of obsession. when movies or shows find their original source in books, he sometimes reads them and sometimes doesn't because he doesn't really know how to manages the conflict that grows inside of him when something gets changed for the sake of a screen adaptation. he's worked with directors that were open to changing the script once he brought up a detail he liked from the project's source material, but he tends to avoid doing this. he needs to do proper research to get something in his guts to switch and click when he plays political figures, though. but yeah, he sways and touches both neds of the stick, depends on the part
• "every part you play is political. and if it's not, i don't know how"
and now i really need to go to bed bc i'm exhausted and writing in english after midnight turned my brain into mush but before i do. let me share this picture and the story behind it.
picture me standing right next to this man. politely waiting for my turn to thank him for spending his time with us. literally waiting at his side. the translator (an exceptional woman btw) shows him something on her phone. he fishes his own phone out of his pocket. he's got a hot pink phone cover. opens the cover. pulls out a pair of what i can't even define reading glasses. they're pince-nez. clear. puts them on and they're there, just sitting on his nose. unbelievable.
oh and he was wearing an embroidered shirt. also, like, you know. big hands