Sade Olutola
blake kathryn
i don't do bad sauce passes
cherry valley forever
Andulka
will byers stan first human second
tannertan36
Discoholic 🪩
he wasn't even looking at me and he found me
NASA
Alisa U Zemlji Chuda
Mike Driver
Janaina Medeiros
trying on a metaphor
@theartofmadeline
DEAR READER
titsay
dirt enthusiast
noise dept.
Three Goblin Art
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@myarivers
COME WITH ME: A Rhaenicent Zine is out NOW through October 31! In exchange for a $20 donation to an organization doing work in Gaza, get a digital zine with 13 Rhaenicent stories totaling 120k+ words with matching art! all info here: rhaenicentzine.carrd.co (cover by @luxilonn!)
Rhaenicent Zine
attributing jaime’s dogshit unpleasant dick asshole personality to cersei is so damn funny. he is the first born son of westerosi hitler and the richest most obscenely attractive able-bodied male knight goku on the continent
ASOIAF Women - Jeyne Poole
Jeyne, Jeyne, it rhymes with pain.
with Rebecca Liddiard as Jeyne Poole
viserys's leprosy is a symbol for the destabilisation of the state/the institution of the crown in the years leading up to the dance, the body politic's condition being reflected on the king's body. it starts even before he kills aemma because he's an ineffectual ruler whose small council is made up of opportunistic men, then (1.02) his hand is rotting away at the same time otto—his hand is preparing to exchange alicent for political power and is giving the king advice that'll cause problems for rhaenyra's ascension down the the line. it doesn't have anything to do with viserys's moral character it would've been wildly ableist if that were the case. aegon's disfigurement is also doing this, in the sense that he's effectively dead to his small council and his own queen mother because power cannot flow through someone who's been excluded from the bounds of traditional masculinity (and this is right when larys, also locked out of ever fully attaining traditional masculinity and is losing the influence he previously gained at court, aligns himself with aegon as he did with the young queen in S1). it's not punishment for the violent misogyny because famously that's not even considered as either of their great flaw by any character in-universe because exploitation of young girls for the propagation of feudal bloodlines is normative within westeros and something that's being repeated by both rhaenyra and alicent in the way they treat with rhaena and dyana/helaena.
people write modern au jaime as unemployed when that’s not even analogous to his westerosi position like just bc he isn’t a lord doesn’t mean he doesn’t have a job. he’s actually in a much weirder position as a member of a celebrity volcel class. like a boy band frontman
You have been Isekai'd to Westeros, spin the wheel to find out which House you belong to
Do you like your house?
Thanks, I love it!
Thanks, I hate it
I do not even know what House is that
Other
affc jaime and cersei
the thing is Cersei could have no scoped that interrogation if she just decided to be catty about it. “Oh so it’s suspicious that all three of my kids are blond while Robert’s bastards look like him? Meanwhile I’ve been to your house and FOUR of your kids are improbably ginger and your bastard looks like you but did I barge into your kitchen and accuse your wife of fucking her brother 🤨?” like Ned would have had to back off immediately
to be clear she’s NOT thinking of Jon and could not identify him at gunpoint, off the top of her head she fills in the blank as the bastard being Arya because of the Joffrey incident but accidentally pinpointing the right number of Ned’s biological children makes the argument even stronger
if Jon had ever been in her direct line of sight long enough her Extreme Beef With Schoolchildren instinct would have kicked in so viciously that she’d immediately go into a Will Graham detective trance and connect it to Lyanna Stark on the spot
Isabelle Adjani in La Reine Margot (1994)
SMASH OR PASS: WESTEROS EDITION
CERSEI LANNISTER: SMASH OR PASS
SMASH
PASS
art credit: [1] [2]
arguments for:
THEE hottest bitch in westeros. diva energy off the charts
accelerationist queen who is driving public confidence in feudal monarchy into the dirt
cucked her husband by fucking her brother, bore absolutely no true born children, and cosplayed as rhaegar to mourn said late husband's passing. a true comedienne.
arguments against:
child murder
worryingly into the wildfire
currently in the middle of a traumatic paranoia-fuelled breakdown where the combination of strangely accurate cryptic prophecies, a series of sudden deaths, and an inability to see her own family's faults has led her to believe her brother tyrion is literally hidden in the walls
blonde
Isabelle Adjani in La Reine Margot (1994)
ISABELLE ADJANI Nosferatu the Vampyre (1979) dir. Werner Herzog
the thing is george rr martin does write some exceptional female characters who are diverse in desires and personalities and even body types but he does seem to think there is a “generic woman” who is either submissive from birth or was a tomboy in childhood domesticated by a man and also she had a slender waist and high firm breasts and long uniquely colored hair. and fire and blood is made up of like 50 of them
ramsay + jeyne commission for @/girlfailsansa on twitter 🩸
harrenhal, king's landing, and volantis are all metaphors for the same thing, that the structural injustices which led to the creation and maintenance of these places will eventually result in their collapse. harrenhal is a symbol of the worst of feudalism, i say 'worst' because the books do romanticise certain aspects of it, oathkeeping as fidelity is clearly intended to be beautiful and moving in brienne's storyline and "the north remembers" but what harren the black did was exploit the riverlands and the iron islands and employ slaves in its construction, thousands dead for one man's monument to power and dominion over others. it was a castle built on fear, not fealty. in a non magical sense, the curse of harrenhal is hubris. it was intended to be the height of feudual power because it was virtually impregnable - impervious to 'normal' medieval warfare, but ended up being destroyed by yet another king, this time in possession of a more fantastical means of power - dragonfire (the hubris theme is strong in the main series, the castle is awarded to scheming, ambitious, and amoral political players who either engineer their own downfall or are eventually pushed off the board by someone who can scheme better them).
but the thing that interests me is that the burning of harrenhal also positions the targaryens as capable of status quo upsetting, radical change. they can disrupt existing power structures because what are walls in front of a dragon? dragons fly. the visionary bit here is the unification of the realm, which is definitely framed as an admirable thing by the narrative because of the upcoming threat of the long night—what aegon invades westeros for. i don't think the targaryens are, like, evil for being conqueror kings, that's a disingenuous reading, but i do think this is a somewhat corrupt idea of 'unification' as it is primarily focused on the dynastic interests of this one family. because the other thing he did was make the iron throne, something that's currently the biggest obstacle to the possibility of the realm uniting in the face of a common enemy. it's significant that a fight over the throne is what kills their dragons, that's a very blunt way of saying that the the iron throne is what ultimately smothers their ability to enact any wider social change, by the end they weren't any different from the other houses. so king's landing is no longer a symbol of targaryen rule, both their dragons and their dynasty died there and any vision of radical change that they began the conquest with was consumed by the iron throne. kl as a whole is symbolic of the game of thrones, the city's geography is modeled after the iron throne with the king within the red keep on top of aegon's hill and the smallfolk left to rot at the bottom. and the inheritors of 'the game' are the lannisters, the ones who swindled the city and the throne from the targaryens. tywin continues aerys's legacy of violence, aerys would burn a city out of 'madness', tywin would do it out of pragmatism ("Lord Tywin would not have bothered with a search. He would have burned that town and every living creature in it"), so it makes sense for tywin's philosophy, that of exploitative and dehumanising violence in the pursuit of power, to be the cause of its destruction. several posts have been made about why joncon and cersei are the ones haunted by the memory of tywin's crimes with reasons to want to emulate him, so i'm not going there, but i feel it's also really important for king's landing to go out because of purposeful grasping over the iron throne and without any dragonfire (even accidental) involved. king's landing is doomed in a very apocalyptic sense because 'the game' is unsustainable. nothing new will come out of the city's destruction and dany's use of fire is always transformative, she creates life out of death. wildfire only destroys.
the city dany will bring fire and blood to is volantis, not king's landing. volantis is the final remnant of the freehold's imperial legacy. a society built on systemic evil, on the backs of slaves cannot go on. the cyclical story here is obviously that of the dragons being redefined and redeemed as symbols of liberation after they historically helped the freehold perpetuate the evil of imperial expansion and slavery. i think the error lies in assuming dany has a personal connection to king's landing but she really doesn't. it used to be their seat and then the targaryens doomed themselves in westeros because of the iron throne. dany is not here to repeat those same mistakes. where she must go instead, is harrenhal. aegon burned it on the first day of his conquest, a conquest he began because of the prophecy of the prince that was promised. the castle is left in a half ruined state so it's not allowed to, like, die. the targaryens kept returning there and got involved in events that altered course of their rule forever - the council of 101 which led to the dying of the dragons and the tourney at harrenhal that led to their line almost ending. i think the narrative 'curse' at its heart is that the castle is the site of unfinished business. it was a result of excessive feudal violence and the conquest was supposed to lead to a different, better model of governance, i do think the targaryens came close to achieving that at certain points in their history because it was a reign of both splendour and horror, but in the end they also ended up being responsible for the perpetuation of that very feudal violence in king's landing. as the last targaryen, dany's destiny lies in unifying and protecting the realm during the long night, this is what they survived the doom for. and i think to do that she has to go to this castle that's a place of both narrative beginnings and endings but also in stasis, and finish what her ancestors began—what aegon and rhaegar wished to achieve at harrenhal but couldn't, one too motivated by conquest and the other by prophecy. because only then will the curse break and the song end.
Detail of Saint Catherine of Alexandria by Caravaggio (1598-99).
yeah yeah yeah yeah
