Variations of a Theme
Featuring: The Dramatic Entrance
seen from China
seen from China
seen from China
seen from United States
seen from United States
seen from Brazil

seen from Netherlands
seen from Germany
seen from United States
seen from Netherlands
seen from Saudi Arabia
seen from Malaysia
seen from T1

seen from United States
seen from United States
seen from United States
seen from T1
seen from United States
seen from Senegal
seen from China
Variations of a Theme
Featuring: The Dramatic Entrance
Isn't it odd how cat and Sansa both were raised with boys who wanted to marry them?
Theon Petyr
Sorry it took me a few days to reply. In my head, I did already 5 times and more eloquently than I'm probably about to do now. So. This makes me think of great posts I've seen about George taking themes/concepts and using them in different ways over and over again. Think of all the versions of hidden identities or how most of the Stark kids have dark mentor figures in their lives. I'm really intrigued by that stuff in the books because I get so engrossed in each version that it takes someone else's great post to make me step back and go, "Oh yeah! That IS the same theme/concept if you really boil it down to the core." Buuuut. I think it's important to acknowledge the different versions here. It's too simplistic to say that with both Petyr/Cat and Theon/Sansa we have unrequited love or something like that (not that you DID say that in your chat. Bear with me a second.) For starters, Petyr's interest in Cat is a lot stronger than Theon's in Sansa. Petyr goes as far as to challenge Brandon to a duel, for example. And while we don't get a Petyr POV, it seems like in his own twisted, selfish way, he believes he truly cared for. It's only later in life, when Cat's gone, that Petyr's actions with Lysa and Sansa suggest he's thinking about claims and birthrights. Alternatively, we do get Theon's POV, and when he thinks of Sansa, he thinks directly about strengthening his claim over Winterfell by marrying her. And when he thinks of being younger and thinking Ned might marry him to Sansa, he calls it a child's fancy. Maybe this is too much of a leap, but it reads almost like a fleeting thought, which is definitely different than Petyr's fixation on Cat. So with the differences out of the way, what's the theme/concept (if not unrequited love or something along those lines)? Well, I know there's plenty to be critical of George about, but I do think he's writing some feminist themes... intentionally? And I think with Petyr/Cat and Theon/Sansa, he's writing about men who feel entitled to the women they desire. (Maybe they feel entitled partly because they were raised together and they think proximity makes them special - to speak more directly to your message). Anyway. I guess my point is I like to think of these relationship dynamics in context of George's other writing patterns and how they solidify his world building. Westeros is a tough place for most, and for the ladies, one of the things that makes it tough is entitled dude bros. Petyr and Theon are just two of many.
Variations of a Theme
Featuring: The Shrubbery Entrance
“… some of the moments we cling to most are the futures we never let happen.” — Alice Miller, Saving.
Neon Fountains
These are little fountains glowing with neon lights from underneath giving them beautiful variations of colours. I took the pictures at Piccadilly Gardens in Manchester during Christmas. Altogether, I took 233 pictures using panorama features on my iPhone. 😀😀 I was struck by their beauty. These are a few of them. In response to Weekly Photo Challenge: Variations on a Theme Copyrights ©…
View On WordPress
It is a challenge to complacency when you refuse to let the final word, the closure to any argument, be "that's how it's always been" - and when you ask instead, the words in edgewise, riving the conversation open, "so what will we do to change that?"
To say it's just a game is dismissive - a way to negate the impact and weight of it, the significance of all its varying degrees. And perhaps it's the medium that makes it so prone to judgement - relatively new, not as vested in society and culture as the printed word, the floodlight performance, the silver-now-technicolor screen. Yet it carries pieces of all those - overlapping swatches of dialogue and form, expression and scenery. Broken down to its base element, perhaps it is a set of numbers, yet to lean back and see the enormity of it, all the layers combined and compressed - it is a world in and of itself.
We're creatures constantly seeking, are we not? A good story, a hearty laugh, a sense of familiarity, a kernel of courage - we look for these things in our world, but often we find them in others. But intangibility does not invalidate, for just as we find hope and inspiration, excitement and poignancy, in literature or theater, so do these exist on-screen - downloaded and pixelated, the condensed microcosm.
It's not reality, no. But it doesn't have to be that specific reflection to mean something. We find our humanity in the strangest of places. We find our sense of community in having discovered those shades and echoes, and the others who have followed journeyed in the search.
It is a game, and for some it is idle distraction, for others the subject of intense study. Recreation and sometimes, unexpectedly, salvation.