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thinking about how varied and interesting and different each unique perspective of asoiaf is and then you get to a sansa or (later on) theon chapter and get to read like twenty pages of the main character suffering more than jesus for no reason. and not that i don’t think that can be interesting it’s just funny to me for some reason.

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Some of you need to be kidnapped and tied up and beaten and fucked until you can't remember your name and kept locked away in a basement with minimal to no clothes and treated like a sex toy until you finally snap and lose all identity so I can just treat you like a literal animal. For your mental health. I'll name you something from a "popular pet names" list from Google.

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my evil yuri. my evil yuri that fucking sucks

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i ship aeron & euron in that i think euron is obsessed with aeron and with completely destroying aeron’s faith. i think more than anything what he wants is to either break aeron or make aeron worship euron as a god. euron doesn’t give a shit about any of his other brothers - he kills them easily and without hesitation. and it isn’t to say he cares about aeron’s death more so that he cares about aeron’s destruction, and that can only happen if aeron lives long enough to watch euron kill every god he can get his hands on.

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Sinners (2025) dir. Ryan Coogler

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acok; chapter 37, theon iii

acok; chapter 56, theon v

acok; chapter 56, theon v

acok; chapter 66, theon vi

acok; chapter 66, theon vi

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"objectively physically attractive but in possession of negative rizz" is one of my favorite character concepts. i think it's so great when there's an absurdly hot person who's just a complete fucking loser. the mood is unsalvageable the moment they open their mouth kind of deal. you get no bitches because you're so sucks.

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thramsay //

i know theon’s fear of being unclothed and exposed is mostly tied to the genital mutilation he suffered but given grrm’s proclivities i am choosing to believe it's also bc ramsay cut off his nipples

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🐺🦑

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Kalku // Nahuel y el libro mágico(2020)

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Do you think Cersei was bluffing in her threat to execute Sansa if Ned did not ''confess''? Cersei's goal was to get the Starks to go back North in order to free up Tywin's army to fight Stannis and Renly killing Sansa would have prevented that. Sansa might not be the Lord of Winterfell but she was still a Stark and Robb's sister, plus executing a child who was still officially Joffrey's betrothed would have looked horrible who would want to marry Joffrey after that?

To confirm, are we talking about this passage?

"Pity." The eunuch stood. "And your daughter's life, my lord? How precious is that?" A chill pierced Ned's heart. "My daughter …" "Surely you did not think I'd forgotten about your sweet innocent, my lord? The queen most certainly has not." Eddard XV, AGoT

Because if we are, there are multiple things going on here. First and most importantly, this is not Cersei speaking. This is Varys, and he came down to the dungeons with an agenda in mind. He wants Ned to confess, because he's trying to stall the outbreak of war, and if Ned's killed, everyone starts fighting in earnest right now and the likelihood of drastic actions (like, say, the North declaring independence) goes way way up. Not the conditions Varys wants right now. Varys is the one laying on the implied, immediate threats to Sansa's life, because he knows that's an effective way to get Ned to act.

That said, this is credible because Sansa is a hostage and because Cersei's character is, well, a known thing. Would Cersei kill a child for her political agenda? Absolutely. In fact she'll have several children killed within weeks of this conversation. There's also no need to execute Sansa publicly to get Ned to do anything - what's stopping Sansa from "falling ill"? Having a "tragic riding accident"?

Even if Sansa was executed in public as a hostage, recall how the people of King's Landing reacted when Sansa was set aside: "no traitor queens". The situation changed from when the betrothal was originally made, everyone knows it, and so it's absolutely possible to spin such an action without damaging Joffrey's marriage prospects.

Cersei's also in a bad position of her own. Yes, she wants the Starks to go back north and leave Tywin free to take on Stannis and Renly, which isn't happening if Ned dies but might happen despite Sansa's death if Ned remains alive (girls are not important enough) - but she also needs Ned, who knows about her affair with Jaime and the parentage of her children, to never say anything about it ever. She's in a real bind here. She needs Ned alive and she needs Ned dead. She needs a hold over Ned, but as the Freys showed us in AFFC, hostages are no good if you can't follow through.

It is this inherent uncertainty that Varys uses to great effect. How much does Ned feel like gambling on Cersei's character and foresight, in this complex and changing situation, when Sansa's life is at stake?

Not at all.

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jaime would love to use grok as a bff and therapist

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TWOIAF, The Breaking

me and my friend Euron are gonna try this this summer

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"King," Dany corrected. "He was a king, though he never reigned. Viserys, the Third of His Name. But what do you mean?" His answer had not been one that she'd expected. "Ser Jorah named Rhaegar the last dragon once. He had to have been a peerless warrior to be called that, surely?" - Daenerys I, aSoS

Scene of Dany, Barristan Selmy, Arthur Dayne and Rhaegar Targaryen. Im picturing some sort of friendly training/sparring scenario for the middle panels

Happy Birthday @mylestoyne ❤💕🥰

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I find the Dark Dany conversation really confusing (and maybe part of this is because I haven't watched the show, and I think a lot of analysis of Dany's arc is wrapped up in trying to use the show as a barometer for where George is going to end up – which I don't agree with), because I feel like she already had her Dark Dany arc and the end of ADWD is her realization that compromising with the masters is bad! You can make no peace with slavery!

Her last two chapters seem really clear to me as a denunciation of compromise in the face of moral evil!

Here's her second to last chapter (when she's going to the re-opening of the fighting pits):

The "floppy ears" comment is in reference to the tokar, the outfit of the ruling (former slave owning) class. Brown Ben Plumm makes a joke that if you want to be king of the rabbits, you have to wear floppy ears, and so Dany refers to blending in with the ruling class (again, the former slave owners!) and adopting their customs as putting on her floppy ears. Here she describes how putting on the floppy ears, the symbol of her attempt to compromise with slavers!, will keep her cool and hide any blood splatters. But she also acknowledges little about this day shall please her – she knows the compromise is wrong.

Dany is upset that that so little has changed despite ending slavery. "One step, then the next, but where is it I'm going?" is Dany questioning herself about if she's taken the right approach to agreeing to reconstruct Meereenese society under the influence of/beholden to the whims of the former masters. Has she compromised her entire abolitionist project?

Dany witnesses Barsena's violent death in the fighting pits. The boar realizes he can't charge Barsena directly (much like how the masters of Meereen have changed tactics. Instead of fighting Dany directly, they are manipulating her into compromise, attempting to provoke and misdirect her, and waging violent guerrilla war from the shadows with the Sons of the Harpy).

Barsena is brave, but dies horribly in front of the crowd, and Dany is sickened. The sequence ends with her TAKING OFF HER FLOPPY EARS, the symbol of her compromise with slavers, because she can no longer ignore the violence of the fighting pits and the moral rot of appeasement.

She's realizing the depths of her mistake in compromising.

I am looking into hell (the fighting pits), but I dare not look away (instead of allowing Hizdahr and the rest of the masters to convince her to ignore the problem and lead her astray).

If I run from him, he will burn me and devour me (the moral consequences of compromising with slavers will destroy her.

And here's her final chapter (where she's wandering lost with Drogon):

"That was where she belonged, surely" – she's trying to convince herself that her place is in Meereen, back with her husband. She's telling herself to keep walking forward despite the previous chapter's quote about "one step, then the next, but where is it I'm going?"

I also think this part about Drogon is interesting – is she talking about the path of moral truth, that she shouldn't have bowed to whip or words (of the ruling class)? Or is she talking about the rot of slavery, that she can't turn the masters away from it if they do not wish to be turned?

And then! In this next paragraph she contradicts the previous statement, saying "Drogon had bent before the whip, and so must she"

But she believes that her place is in the arms of her noble husband, the husband who has pressured her to reopen the fighting pits, which she knows is evil, that's the realization she has in the last chapter! So she's conflicted here, and I think we're supposed to be taking away that she shouldn't do that. Her place is not there! She should not bend!

Then Dany describes the blisters she gets "from the way [she] walk[s]" a clear callback to the line in her last chapter "one step, then the next, but where is it I'm going?" – the path of compromise is quite literally hurting her!

Dany has to remember who she is – someone who abhors slavery, who doesn't compromise on her principles.

She's sick, dehydrated, hallucinating (and seemingly having a miscarriage), all alone at her lowest point, and finally she realizes Meereen is not her home and never will be! She cannot be a Harpy!!!

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"dragons plant no trees" gets thrown around a lot as fact, but i think the veracity of that claim is still up for debate in the books. because dany (like bran and jon and many others) is a narrative symbol of hope and rebirth within the series because of her connection to dragons and fire, not in spite of it. this is because dragons in asoiaf have a much more expansive narrative function than simply 'nuke metaphor'. the 'exclusively weapons of war' image they have acquired breaks down immediately if you recall that the first thing dany does with them is begin dismantling an unjust status quo. she rallies the unsullied at the gates of astapor with cries of dracarys! dracarys! freedom! <- dragons as a symbol of hope and freedom for the persecuted. and obviously they've been built up as an oppositional force against the others. we're told when the last dragon died summers became shorter. in that respect the dragons, or more specifically, fire which is warmth which is passion—very much embodies life against the numbing, deadening threat of eternal winter that the others represent. but fire also consumes, which simultaneously makes dragons agents of destruction, or as adwd shows: the monsters who eat little girls and leave behind their bones. but when dany found herself chained to a false peace which effectively undid her cause in meereen, it was the dragon that rescued her and reignited her fire to fight back—which is to say that dragons represent a wealth of contradictions within the text and this is likely something grrm means to parallel with the others to some extent, by questioning their apparent narrative role as the one true evil. because i doubt the series is gearing up towards a spectacle-esque battle wherein our heroes get to practice righteous, easy violence on a monolithic army of monsters. that feels like it would undo a lot of asoiaf's preoccupation with investigating violence against socially acceptable targets, even if said target is ice sidhe. and this binary between a one true good and a one true evil, i.e. melisandre's philosophy ("if half an onion is black with rot, it is a rotten onion. a man is good or he is evil.") is not something the story takes as given.

instead there's this exchange between bran, jojen, and meera in asos: "but you just said you hated them." / "why can't it be both?" / "because they're different. like night and day, or ice and fire." / "if ice can burn. then love and hate can mate."—and i think it's talking about reconciling two conflicting ideas. because the dream of an eternal summer is just as unsustainable as the threat of eternal winter. i think the battle for dawn is more about questions of seasonal harmony. the first line from agot's summary says, "long ago, in a time forgotten, a preternatural event threw the seasons out of balance", so it's not totally out of question for the series to end with that seasonal balance restored once more. and that question of balance and how it can be achieved then works as a metaphor for a bunch of other things. because asoiaf at its core is very interested in exploring big contradictions, like love and duty? how do you keep all your oaths without betraying someone you love? how can one hope for a just, rightful ruler in a world where the systems in place can never allow such a thing? how do dragons plant trees?

you cannot frame dany's arc as a binary choice between planting trees or embracing (dragon)fire. because the fire is hers, it is a part of her, that's who she is. and her character has always existed outside of rigid dichotomies. at the end of agot she had two options, resign herself to a life of seclusion as a widow or die with the last of her family in that pyre, instead she performed a miracle. presently, i think grrm means to explore necessary, revolutionary violence with her arc because you cannot deal with institutional slavery by simply negotiating with slavers like she does in adwd. and the consequences thereof because she's also been set up to be more reckless with dragonfire in the future. but i think there will be an eventual reconciliation there, between her dreams "to plant trees and watch them grow." and her role as the mother of dragons, as a revolutionary figure. because if ice can burn, then maybe dragons can plant trees. they'll learn how to.

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theon greyjoy attempt