āI am alive, and drunk on sunlight.ā
ā Jaime I; A Storm of Swords by George R.R. Martin (via stormborn)
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@nymt89
āI am alive, and drunk on sunlight.ā
ā Jaime I; A Storm of Swords by George R.R. Martin (via stormborn)
(ā”āæā”āæ)
tell me, what's the point of having two mad queens. wasn't the only other woman who ruled westeros (rhaenyra? the one from the dance) also kind of tyrannic/nuts/cruel/too emotional? I wonder why would Martin do this, I'm feeling really disappointed with this whole series.
See here.
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Spoiler Ask Roundup:Ā āThe Mad Queenā
Anonymous asked: Can I ask you your thoughts about Dany doomed by d&d to be showed as a mad queen?
You surely can.
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I doubt this will happen in the show, but I think it'd be interesting if when CleganeBowl comes around, Sandor isn't so much hellbent on avenging all of the pain and anger and fear he's been through at Gregor's hands, as he is genuinely shocked and horrified by what Qyburn has done to him, so that he views finally killing him as more an act of mercy than revenge.
I wouldnāt be surprised.Ā
YOU DIED
YOU DIED
Favorite fact of the day: on the first day of filming Labyrinth, George Lucas - who executive produced and partially helped write the final version of the screenplay - had Darth Vader show up on set to give Jim Henson a good luck card and a bottle of champagne. From Labyrinthās Facebook page:
In other words, I like my May the Fourth content the way I like almost everything else - in some way themed to David Bowie
Could you elaborate on the flaws of Zack Snyder's Watchmen in capturing Alan Moore's original ideas?
Alan Mooreās original Watchmen is a profoundly deconstructive approach to superheroism as a concept. If superheroes existed, Moore argues, they would be fascistic headcases virtually to a man, psychologically and sexually warped by their relationship to the costume and the allure of might making right. The problem is that Snyder doesnāt really recognize this as a bad thing.
An instructive example is the depiction of violence in both mediums. Dave Gibbons doesnāt shy away from depicting violence throughout Watchmen - itās an incredibly brutal book from beginning to end - but he goes out of his way to make the violence look ugly and scary and above all not cool.
Zack Snyder cannot do that. If thereās one commonality to all of Snyderās work -from Dawn of the Dead to 300 to his DC films to Sucker Punch - itās that he is an aesthete of violence. He makes violence look beautiful, balletic, and sensual (this is especially clear in Sucker Punch where burlesque and action are directly equated) at all times.
I think this gets at a fundamental disjuncture of attitude: Moore is critical if not to say contemptuous of many of his characters. For all that Rorschach was adopted by a whole generation of grimdark-loving bros as the ultimate badass, Moore clearly loathes him. The anarcho-syndicalist depicts Rorschach, a John Bircher-style ultraconservative who worships Harry Truman for having the moral courage to use nuclear weapons, as a conspiracy theory nutter who spends his days wandering around Times Square with an End Is Nigh sign, as a homophobic Travis Bickle profoundly warped by an abusive childhood, as a murderous vigilante inspired by the myth of Kitty Genovese and urban apathy,whose literal black-and-white worldview makes it impossible for him to grapple with the ultimate moral dilemma and who chooses suicide instead, and whose actions result in the sacrifice of all those lives being for nothing.Ā
Zack Snyder thinks Rorschach is cool.
I think you could do this for pretty much every character in Watchmen.
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I'm trying to understand how D&D managed to take a book series that, among other things, was intended to deconstruct the myth of "the good King" and the common construct of authoritarian rulership in fantasy and non-dystopian sci-fi, and turned it into a television series that effectively argues on behalf of authoritarian rule in fantasy worlds. Even in places which have nascent forms of other governmental structures, like Braavos and (to some extent) the Dothraki end up with distinctly
authoritative governments/societies. I think Qarth qualfies to some extent as well. Thatās of course on top of the distinctly problematic presentation of Westeros as ānorthern European-ishā and Essos as being predominantly POC, even though some Essosi cities have a stronger claim to Valyrian descent than most of Westeros. Any thoughts on how D&D so thoroughly missed one of the main themes and deconstructionist analysis of other Fantasy series in ASOIAF?
Probably the same way that Zack Snyder did a virtual panel-by-panel version of Watchmen that somehow completely reversed Alan Mooreās deconstructive arguments and themes: you can love something without understanding it.
The King of The North byĀ lius lasahido
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2x02 // 8x02
I donāt plan on knitting by the fire while men fight for me.