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davos-allyrion · 3 months ago

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༗ THE LYNX’S EYE ༗

(Starter with @abby-the-writer)

The sands of Dorne were unkind to those unfamiliar with their bite, and the messenger’s red, peeling face was proof enough. He stumbled into the courtyard of Godsgrace at midday, sweat pouring from his brow, his movements sluggish and unsteady. Two guards flanked him, their expressions a mix of bemusement and curiosity.

“My lord,” one of the guards announced as Davos emerged from the shade of an archway, his long strides unhurried. “Caught him wandering near the edge of the South Tower. Claims he’s a merchant of wool with urgent business.”

Davos paused, sharp eyes sweeping over the man. His attire was too plain for a merchant of high station, and his goods—if he carried any—were nowhere to be seen. A seasoned traveler would have shielded themselves better against the Dornish sun. No, this was no merchant.

“And what wool,” Davos asked, his voice calm and edged with amusement, “is worth blistering your skin to ribbons under the Dornish sun?”

The man hesitated, his cracked lips parting as if to answer, but Davos waved a hand, silencing him. “Save it. If you’ve made it this far, you’ve earned at least a drink of water before I decide what to do with you.”

The cool shade of the hall seemed to sap the last of the stranger’s strength. He stumbled, caught himself, and glanced warily at the chamber Davos led him to—a small room adjoining the main greenhouse, where the air was thick with the scent of herbs and freshly tilled soil. A basin of water and an assortment of salves awaited.

“Sit,” Davos commanded, nodding to a low stool. The guards deposited the stranger and hovered near the doorway.

“You can go,” Davos said with a flick of his hand. “If he tries to escape, the sun will finish him off long before he reaches the gates.”

The guards exchanged a look before retreating, leaving Davos alone with the man. He reached for a blade, its edge glinting in the dim light as he sliced into the thick flesh of an aloe leaf. The man flinched at the weapon, and Davos raised an eyebrow.

“Relax. I’m not going to flay you alive, though by the looks of it, the sun nearly did.” Davos worked slowly, using a brush to spread the gel over the worst blisters. “Who sent you?”

“I’m a merchant, I came to sell—“

“You know,” Davos paused, raising an eyebrow as he reached for a jar containing a mixture of thyme, dried opium, and belladonna. He crushed the herbs into a fine powder, his movements slow and deliberate. “if you’re going to lie to me, at least do me the courtesy of making it entertaining.”

“I—I’m on official duty for House Tully,” he stammered. “If anything were to happen to me, Riverrun would know. They’d—”

Davos laughed, a low sound that echoed in the chamber. “And what exactly do you think I’d do to you? Roast you over the fire? Send your bones back in a gilded box? Rest easy, friend. You’re far more entertaining alive.”

“I only mean... House Tully values its messengers.”

“So do I, but, unfortunately, if you won’t tell me who sent you, I’ll have to make my own assumptions—and I doubt your lady or lord would appreciate the results.”

“Lady Abigail,” he admitted at last, his voice barely above a whisper. “She sent me.”

Davos paused, his smirk deepening. He sprinkled the powder into a pot of boiling water, the fragrant steam curling into the air. “That wasn’t so difficult, was it?” He poured the mixture into a cup and handed it over. “Dip cloth into this and use it as a plaster. It’ll help with the pain.”

The messenger hesitated, his suspicion warring with exhaustion, but he eventually obeyed.

“You’ll rest here tonight,” Davos continued, his tone casual. “Food, water, and a proper bed. I’ve no interest in detaining you, but if Riverrun insists on sending messengers into Dorne, they’d do well to send them better prepared.”

“You’re... letting me go?”

“Of course. But when you leave, you’ll carry something back to Lady Abigail for me. Call it a reply to her curiosity.”

The messenger was escorted to his chambers, his burns treated and his stomach filled. By the time night fell over Godsgrace, his skin was no longer an alarming shade of crimson, and his breaths had steadied.

Davos, meanwhile, sat in his solar, the scent of ink and parchment mingling with the desert breeze. Leaning over his desk, he dipped his quill into the inkpot, a rare smile tugging at the corners of his mouth as he began to write.

To Lady Abigail Tully, Youngest Daughter of Riverrun,

Your attempt to peek into the shadows of Godsgrace did not go unnoticed, nor unappreciated. The lengths you go to protect your kin—though some would call them reckless—are admirable.

Your messenger, I assure you, was treated with courtesy (and a much-needed glass of water). Godsgrace is no easy land to traverse for one unfamiliar with its sands. I’ve sent him back with this letter and a token of my good humor—a quill to serve you better than rumors do. Call it a truce offering, if you will, though I suspect you never intended to ignite a war.

You must know, Lady Abigail, that your brother Oscar is far more than a dear friend to me. I value him, not as one values a pawn but as one treasures a partner in this game of lords and ladies. It is not difficult to see why you would concern yourself with his safety, especially when he exchanges letters with one who has a reputation as unsavory as mine. But let me assure you, there is no cause for worry. Oscar is safe under my watch, and under my roof, should he ever wish it.

You know him well, of course: a man of wit and fire who speaks as freely as the rivers run. He has a way of stirring both laughter and reflection, and I count myself fortunate to call him a friend. Though I must admit, I find your curiosity about me far less subtle than his charm. Did you think I would not notice? Or did you hope that I might take offense? Either way, your boldness is endearing, though I suspect you would scoff at the notion.

As for the whispers surrounding me, I would advise you to judge for yourself rather than through the filter of rumor. The stories you’ve heard about me—the bloodshed, the shadows, the supposed curses—they hold some truth, but rarely the whole of it. Power in Dorne is rarely earned without blood, yet I do not wield it carelessly. What you should know is this: I am loyal to those who show me loyalty, and merciless to those who cross me. Your brother has earned only the former.

Consider this my reassurance: I have no quarrel with you, nor will I ever harm one of your blood. I owe Oscar too much to ever make him grieve. Should you wish to meet me or learn more of my truth, send word. Godsgrace, despite its shadows, has its share of stars.

Davos Allyrion,

Friend of Oscar Tully

P.S.: should you send another spy, I suggest choosing one less prone to blistering under the Dornish sun. Such a glaring oversight hardly befits the cunning reputation of a Tully.

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thronesfms · 2 years ago

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𝐀 𝐑𝐀𝐕𝐄𝐍 𝐂𝐀𝐑𝐑𝐈𝐄𝐃 𝐀 𝐍𝐄𝐖 𝑳𝑬𝑻𝑻𝑬𝑹 𝐓𝐎 𝐓𝐇𝐄 𝐑𝐄𝐃 𝐊𝐄𝐄𝐏

+ 1 new application .

𝐀𝐏𝐏𝐋𝐈𝐂𝐀𝐓𝐈𝐎𝐍𝐒 .

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charlie hunnam as aelyx longwaters , member of the kingsguard . *

𝐑𝐄𝐒𝐄𝐑𝐕𝐀𝐓𝐈𝐎𝐍𝐒 .

kiko mizuhara and the ruling lady of bear island .

house blackwood . *

#appless rp #oc rp #got rp #hotd rp #asoiaf rp #period rp #app count.

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onemilliongoldstars · 5 years ago

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a crown seldom enjoyed - chapter 27

To maintain the fragile peace between north and south, Clarke of House Tyrell is sent to live in Winterfell as an act of faith between the two kingdoms. There, she is put under the protection of the first queen in the north, Queen Lexa of House Stark, Daughter of Wolves. A woman draped in steel and silver, wolves at her heels and rumoured to be a manifestation of the fury of the old gods; Clarke refuses to be awed be her quiet violence and cold smile. Instead of fostering unity, the meeting of the wolf and the rose lights a spark that spreads through the rest of Westeros, threatening to burn it to the ground.

27/33

clexa game of thrones au

read on ao3

Book Three: Chapter 6

The south almost falls to ruin in the few days following King Finn’s death. Lexa is saddling a horse in the stables, her Queensguard working fervently beside her, when the bells begin to ring, a feverish, furious clang that stops them all in their tracks. For one horrifying moment she thinks that Pike has ordered the gates shut to kill them all, but a frantic stable boy stumbles inside, reeling from drink and fear and says, his voice garbled.

“The king! He’s dead!”

Later, Lexa is ashamed that her first thought is of the king’s new bride, but in that moment all she can do is stride across the stables and grab the boy by the shoulders to demand.

“The queen?”

The boy shakes his head, almost mute with fright. “Alive, but weak.” His voice drops, trembles. “They found her in the bed with him, covered in his blood.”

The stories have only grown worse since then, becoming bolder and more horrifying with each tale. There are many that whisper that Clarke was involved somehow, that her hands are covered in blood. Those with more daring mutter that the new queen should be deposed at least, beheaded at worst, but with no other obvious heir in sight they do not raise their voices. Others wonder whether the southern lady is cursed somehow, with the death of her father and now her husband looming over her like a dark cloud. For her part, Lexa refuses to leave now. She expects a fight from her Queensguard, wonders whether Anya will forcibly drag her back to the north, but instead she is surprised to find that her cousin only nods grimly upon hearing her decision.

In utmost secrecy, she sends two of her Queensguard north in the dead of night to order Aden to prepare for the worst, and has her own guard and that of Lady Tris doubled. She sleeps lightly, with a dagger beneath her pillow and spends much of her nights staring at the canopy above her bed, stifling in the southern heat, wondering whether Clarke too is staring at her own canopy.

In the early days that follow the killing of her husband, the kingdom is not wholly sure that Clarke herself survives. The Grand Maester will let no one in to see her, and only reports that she is weak from her injuries and distraught by her loss. They are left with only whispers and rumours, and Lexa feels like a trapped wolf, pacing the corridors as she waits to hear of Clarke’s condition. Several times she walks by the chamber doors of the royal suites, but Octavia Snow stands guard every time, her expression dark and she will not let even her queen past to see her injured lady.

By the third sunrise, Lexa fears Clarke has waited too long. By all accounts, Lord Pike is holding court in Tower of the Hand with the wealthiest and most powerful lords and ladies in Westeros. He terrifies them with talk of a land unprotected and overrun by enemies and refills their wine goblets until they are too drunk to argue with him. Though he has not yet said so publicly, Lexa is sure he is plotting Clarke’s deposal or demise and the thought of enough to curdle her blood.

For her own part, several southern lords and ladies even go so far as to court her favour in this time of unease. Some she knows well: Lord Marcus is welcome company, though she suspects his level headed and empathetic words would be best spent in Clarke’s support elsewhere; Lord Jonathon Tully, brother of Lady Abigail Tyrell, is a fair minded man with a blunt, easy manner, and the Princess Arianna is a surprisingly fervent supporter of her new queen. Many are frightened away by the wolves pacing at her sides and the dangerous expression that she so often wears when she is troubled, and for that Lexa is glad. As little as she likes waiting for word on Clarke, it is even worse to do so with southern prattle about her.

The sun is only beginning to paint the sky with its tangerine tones when a hurried knocking comes to her door. Lexa, barely asleep for more than a moment, wakes slowly and with heavy eyes, squinting through the darkened room to find Anya pushing open her door. Her hand, which had been groping for the dagger beneath her pillow, falls down, and she groans softly, rubbing at her eyes.

“What is it?” Her voice is slurred with sleep. “What’s going on?”

“It’s Clarke,” Anya hurries to light the candle beside her bed, ushering in one of Lexa’s handmaidens to stir the fire into life. Lexa shoots up at the words, her heart suddenly thundering, but Anya holds out a hand. “She is well, she is hosting her first audience.”

“An audience?” Lexa pushes herself from the bed with none of her earlier reluctance. She hurries to the carafe of water on the stand in the corner, pouring it into the waiting dish and hurrying to wash herself despite its frigid temperature. “At this time?”

“I expect she wants to say her piece before Pike does.” Anya intones, grimly.

Lexa is half in a daze as she allows herself to be dressed by her handmaiden, her hair pulled back into a simple braided crown, her real crown placed within the curls as she is urged into dark hose and a tunic embellished with fur and silver embroidery. Her sword is strapped to her waist, several small daggers slipped into her high boots.

When she steps from her rooms Honour, Sage and Valour fall into step beside her, their presence comforting at her side. The sun has risen as she’s been dressed, though its light is still watery. From the courtyard, she can hear the sounds of the city beginning to wake up, as merchants call their fresh catches and the hammers and anvils of the city’s blacksmiths groan into life. The servants of the castle are bleary eyed and startled to have so many nobles rushing from their rooms, and already the soldiers that man the city gates are having to open them for the few lords and ladies in the city who the word has reached.

With the wolves at her side and her Queensguard at her back, Lexa moves through the hustle and bustle with ease. People scatter out of her way, half bowing, still unsure of the protocol, and she doesn’t deign to meet their curious gazes. Instead, she keeps her eyes set on the doors to the Great Hall, which stand wide open to allow in the streams of nobles entering. As she takes her place at the head of the crowds, closest to the dais, Lexa feels the eyes of the south upon her and wonders how far Pike’s vicious rumours have spread. It is only the thought of seeing Clarke that keeps her in her place. If she weren’t so desperate to see the new queen, or so confident that Aden could handle the north in her absence, she would have saddled a horse that first night and fled this poisonous city.

The sound of horns pulls her from her reverie, and she blinks up at the dais as attendants step out. There are only servers and handmaidens at Clarke’s side when she steps out onto the dais, and she cuts a stark figure. Alone but for her attendants, she wears a dress so dark she appears white beneath it. A heavy chain is slung around her neck, and her golden crown shines open her head, but otherwise she is utterly devoid of decoration. There is something simple and mournful and strong about her appearance, and a hush falls through the waiting crowd as she makes her way to the front of the dais. Lord Pike, Lexa notices, is absent from proceedings. She wonders whether the hour is simply too early for him with his late night revellers, or if he refuses to acknowledge the authority of his new queen. Either way, she suspects it is what Clarke hoped would happen and she finds her own breath baited as she waits for Clarke to speak.

Clarke looks down upon them all, regal and stern, and when the chattering finally quiets she begins to speak.

“By now I am sure you have all heard what has happened to my husband and our king.” Another wave of murmurs runs through the watching nobles, but Clarke does not allow it to stop her. “I do not need to tell you of my grief, I am sure you all feel similarly. The king was a strong, wise man and he was my husband.” Here her voice breaks, just slight and when she pauses to draw in a steadying breath, there is no denying the way her eyes shine. Several ladies cling to their friends and husbands, padding at their eyes with handkerchiefs at her words. When she speaks again, her voice is strong and steady. “I would not assume to sit on our king’s throne without your consent,” Here, she seems demure and retiring. “But there is no immediate heir to take his place, at least, not yet…” She glances her hand over her stomach so briefly it seems instinctive, but Lexa knows in one heart stopping moment that it is as rehearsed as every other moment of this speech.

“My lady,” A lord bedecked in gold and black steps forwards, his dark brows furrowed. “Do you mean to say…” He pauses and flushes, “Did you and the king know each other intimately before his death?”

Shocked gasps and scorning looks follow his question, several ladies offer him outraged glances and touch at their cheeks and head, but many more eye Clarke with undisguised curiosity. From her place on the dais Clarke nods somberly, passing her hand over her stomach again in a gesture that is much more considered.

“I cannot say for sure, of course.” She raises her gaze and looks out over them, bathed in the light of the rising sun she looks ethereal, like the Mother herself. “But the king and I felt afterwards that there was some chance,” Her voice stutters again. “That’s why I- why I hid for so long when the assassin came. The king bade me to protect our heir.”

Another round of muttering follows her words. There has been much talk of how the king died, but to hear Clarke speak of it so frankly astonishes them all.

Clarke continues as if she cannot hear them. “Our king was a good and noble man, and if the gods see fit to bless me with a son, I know he will be just as good a king as his father was.” She looks out over them all and Lexa feels as if she could fall into her blue eyes. “I was not crowned before my husband was killed, but he did choose me to help him lead. For those of you who truly loved him I hope that that is enough to support my claim to the throne of the south.”

A gasp runs through the crowd and Lexa feels a prickle of fear run through her. It is a bold thing to say in her first audience since her husband’s death, and with no one else on the dais to show their support she seems isolated and vulnerable. A moment of silence passes as people exchange glances, but then Princess Arianna steps forward, unsheathing her sword, and she places her weapon at the steps of the dais, near Clarke’s feet.

“Dorne is with you, your majesty.”

Clarke looks down at her and when their eyes meet something unsaid passes between them, before Princess Arianna bows. Lexa eyes the dark haired princess with curiosity, she knows that the woman is only the daughter of the true Prince of Dorne, a man confined to the south by his many ailments, and she wonders what authority the princess has, or expects to soon have, to make such a pledge.

“King Finn was noble, as you say,” Another lord from the Stormlands steps forwards, grizzled and old, but he stands tall. “He chose you as his queen, always said you were good and wise,” He glances back at some of his compatriots. “I trust him, your majesty, and I trust you.”

Something close to a smile, but laced with sadness and regret flickers over Clarke’s face and she nods as the Stormland knights call their agreement and step forwards to lay their weapons at her feet.

One by one, more knights of the south make their way forwards. Among their like is Lord Marcus, who bows so deeply Lexa fears his nose will brush the ground, and the lords of Riverrun and Highgarden. Lexa says nothing, but her presence and unwavering gaze upon Clarke she knows are enough to show where her support lies. As a queen, she has no need to pledge her loyalty to Clarke publicly and regardless she knows that Clarke already has every part of her that truly matters.

“Thank you all,” Clarke says at last, when only those loyal to her remain. Enough have slipped away to be noticed, but the Great Hall is still crowded with eager nobles. “If the gods will bless my reign, I will sit the Iron Throne for you until someone more suitable is able to take my place.”

The waiting crowd let out a great roar of agreement at those words and Clarke bows her head, slipping away through the door at the back of the dais like she is made of mist.

The King in the South lies in state for three days and three nights before he is buried. His body has been cleaned up well, and there is still a boyish youth to his lifeless face that only makes proceedings worse. Still, when Lexa approaches to show her respects, she can see beneath his high collar the hastily stitched wound that ended his life. The city is filled with crying women and drunk men, and the city mourns for their king so fiercely one would think he had been upon the throne for years rather than weeks.

His funeral takes place on the fourth day after his death, a dismal affair filled with long sermons from the Septon and the ominous presence of the Silent Sisters. Clarke stands at the front of the Sept, close to her late husband’s body, and she appears drawn and tired, but strong. She is not yet crowned, but nobles still bow in her presence and the dark veil she wears is held in place by diamonds that sparkle within her hair and give the illusion of a crown. Lexa watches her as inconspicuously as she can, wondering at how she remains so composed and stoic. It is only the twitch at her lips and the corners of her eyes that give away her despair.

The day is unusually drawn and clouded, and when the rain begins to fall proceedings are cut unceremoniously short for the sake of the many people, nobles and smallfolk alike, gathered outside the Sept and in the streets. Nobles hurry back to the castle, eager not to get wet or ruin their finery, but Lexa lingers on the street. The rain feels good upon her skin and soaking into her hair, and her northern clothes are made to withstand much worse. The streets empty, and it is as if the downpour is cleaning away the filth of the city, leaving it open and fresh for the first time in years.

Returning to her rooms, she dries off at the insistence of her handmaidens, and settles beside the fire. The castle is quiet today, as people retire to their quarters to contemplate the lost king and what will come next. She calls for wine and food, but when it arrives touches little of it. There are letters from Aden, who assure her that all is well in the north and as there is no sign of secret code for an attack or danger she believes him. He is well guarded and has sent letters to families he knows are loyal to warn them to be on their guard, but with Lord Bolton dead Lexa wonders whether the head of their northern snake, at least, has been cut off. Other letters and scrolls remain to be read, but nothing interests or engages her. Instead, she is plagued by memories of the young king, and though she had not known or particularly cared for him she is saddened by his loss. She wonders what he knew of Pike’s plots, or whether he was simply a piece to be played with and manipulated. Her eyes go to the tapestry on the wall, from whence Clarke had once appeared as if by magic. The day after she had had Anya and her Queensguard help her manoeuvre a heavy oaken wardrobe in front of the hole, to ensure it was safe.

When her thoughts will not quiet she sighs and pushes herself from her seat. Her cloak hangs over clothes horse near the fire, but it is still a little damp when she swings it about her shoulders. Her sword at her hip, and Faith, Honour and Sage padding along beside and behind her, she steps out into the hall. Anya stands to attention at the sight of her, her eyes narrowing as she sees that Lexa is dressed to go out. Nevertheless, she falls into step behind Lexa and when they reach the end of the corridor she beckons two Queensguards to accompany them and leaves two more stationed at Lexa’s door.

The rain has lightened to a mist that hangs in the air, curling the stray tendrils of her hair. She had thought to walk to the library and find herself something more engaging to read, but her feet carry her past the library and across the courtyard towards the Godswood.

It is only when she has taken a few steps over the soft grass, slick beneath her feet after the day’s rain, that she spots the dark figure kneeling at the base of the heart tree. She pauses, her guard hesitating around her, and feels her heart constrict when the person turns a little to glimpse them and reveals her ever familiar profile beneath the hood of her cloak.

“Guard the entrance,” She tells Anya, quietly, and though her cousin’s eyes wander between the two of them, she doesn’t protest. The wolves stay at her side when she starts forwards again, Faith loping slightly ahead when she catches Clarke’s scent in the air.

The rain still hangs in the air like a fine mist, softening the sharp edges of everything. The low clouds linger, caught by the tall tree tops like a bird in a net. Like this, the rest of the world seems to shrink away from them, the city turns to white and they are suddenly alone together.

From where she kneels before the blood red face carved into the white bark, Clarke’s cloak pools like dark wine around her body. She doesn’t look up when Lexa lowers herself to the ground beside her, and around her the wolves settle their bodies like sentinels, Faith sitting at her shoulder. For some time they sit in silence and Lexa lets her eyes wander to the heart tree and the face of the old gods staring out at her from it. She remembers quite vividly the misty mornings spent sitting with her father before the heart tree in Winterfell, as he sharpened his blade and talked of the power of the old gods. She had thought of those conversations many times since his death, thought on all he had taught her, but she knows that nothing he said about the importance of war and battle formations will help her now.

“I saw him die.” Clarke’s words startle her, pulling her from her reverie, but her attention is immediately fixed to the girl beside her. Clarke has not moved, she still remains knelt before the heart tree, her eyes downcast. Lexa cannot pull her eyes away from her and she realises for the first time that Clarke’s hands are curled in the damp grass beneath them, twisting the stems until they break and turn her fingers white. The silence fills the air for a few moments before she continues, her voice low and toneless. “On the bed, when I first stepped into the room, he was dying.” Lexa says nothing, isn’t sure what sort of response Clarke wants. “I didn’t think to help him, I only thought of myself.”

“Clarke-”

“I lay on that bed with him for hours, hoping that he would wake.” The grass snaps beneath her fingers. “He was a good man, he deserved a better wife than me.”

“He adored you.” Lexa says, ever so softly. “That was clear to anyone.”

Clarke snorts, disdainfully, and her words crack. “A cruel trick of fate.”

“Clarke-”

“You shouldn’t be here.”

A beat of silence passes between them as Lexa tries to decipher her true meaning.

“I couldn’t leave until I knew you were alright.” Lexa shakes her head, finally, her voice low.

“That isn’t-” Clarke’s voice breaks over her words and she swallows heavily, but continues, as if she is worried that if she doesn’t speak now she will lose her voice entirely. “That isn’t what I meant.” There is a rough, guttural note to her words that makes them seem all the more forceful.

“Then what?” She is almost afraid to ask, afraid that she knows what Clarke will say.

“You shouldn’t be here with me, you shouldn’t be anywhere near me!” Clarke’s voice is rising, taking on a note of hysteria.

“No one can see us Clarke, my guards are posted at the gate and the wolves are here. We are safe for now.”

“Don’t be obtuse,” Clarke’s brows twist, somewhere between fury and anguish. “You think I don’t know what they have been saying about me? That I’m cursed, that all who love me die.”

“Clarke-”

“They’re right.”

“They’re not, Clarke,” She reaches out and clasps Clarke’s fingers within her own, pulling them from where they are tangling in the grass stems and digging in the dirt. Carefully, she encloses them in her own, folding around the cold digits like a parent swaddling a babe.

“How can you say that?” Finally, Clarke meets her gaze, and her eyes are deep pools of stormy blue, sad and angry and despairing. “My father, Thelonious, and now Finn… I loved them all in some way and now they are all cold in the ground.” A tremble runs through her at her words, and Lexa can feel it in her fingers. “I’m cursed.”

“No,” Lexa shakes her head, and she cannot hold herself back any longer. She hitches closer and lifts herself up a little to wrap her arms around Clarke’s stiff body, holding her close. “No Clarke.”

“The gods are punishing me.” The hitch in her voice tells Lexa that she is crying now.

“This was not the gods’ doing,” Lexa insists fiercely, her anger burning in the pit of her stomach. “This was a man’s doing, Lord Pike.”

Clarke melts into her embrace and Lexa wonders how long she has been carrying this shadow upon her shoulders, letting it weigh her so heavily. “Even so, if he finds out…” She trembles again in Lexa’s arms and Lexa feels tears prickle in her own eyes. She clings more tightly, and for a moment she wishes their lives had not panned out this way, that they could simply give themselves to each other without the fear of vengeful lords or the duty of their families and countries weighing them down. “Please, please,” Clarke presses her face into the crook of Lexa’s neck, not entirely sure what she is begging for.

When Lexa speaks again, her voice is raw with emotion. “Not even the gods could keep me from loving you, Clarke. Some southern lord certainly won’t.”

---

The fire crackles in the place, though the day is hot and the sun pounds down upon the streets. It streams in through the window of her chambers, forming a bright square upon the cold stone underfoot. If she stretches her foot out she can reach it and feel the heat of the day upon her bare skin. This room has always caught the morning light nicely, glowing with warmth under the sun, and she tries not to think on where she will be sleeping come nightfall.

Her robe is light around her shoulders as Harper’s nimble fingers tug and pull at her curls, pinning them into intricate, twisting forms with the expert hand of someone who has been doing this for some time. She has been working in silence since she began and Clarke has appreciated the peace, what feels like the first she has had in days.

Despite the rumours, her days after Finn’s death were not spent in bed recovering from grevious wounds. When she thinks of her wedding night now, everything feels very distant and far away. She barely remembers the assassin’s face, though she does remember it sliding away to reveal a second the moment the last breath had escaped him. She doesn’t remember the wounds to her legs and stomach, which are still bandaged tightly and throb with pain at every breath. She remembers the smell of blood, and the feeling of the blood soaked cotton beneath her fingers. She remembers how it dried beneath her as the night went on, turning stiff and dry like corn kernels. She remembers Finn’s wan, shallow face, and his unseeing eyes staring back at her, at once adoring and accusatory.

The Grand Maester had come only when Faith had been howling outside the doors to the bedchamber for so long that one of the guards had run to find him. He had wrapped her wounds, given her milk of the poppy, and in her drowsy, drugged state she had fallen into his familiar arms and wept her story of Pike. If before she had been unsure whose side he was on, she had been certain at the sight of uniminitable horror on his face as her tale unfolded. He had seen to her wounds, had the king’s body wrapped and taken to the Sept, and put her to bed. When she had woken the next morning, the ache in her heart stronger even than the ache in her body, he had asked her to tell her story again.

“Can you stand, your majesty?” Harper asks, quietly, and slowly, with her handmaiden’s help, Clarke struggles to her feet. Harper unwraps her robe and sets to dressing her.

On the morning after her cursed wedding, Harper had come at the Grand Maester’s command, and set about bathing her as gently as one would a newborn babe. Though her fingers had trembled, she had not backed away when the Grand Maester had offered to fetch another. With gentle determination, she had brushed Clarke’s hair and braided it back, dressed her in a soft nightgown and her periwinkle blue robe, so that when the first of the visitors came, she was presentable.

Lord Marcus was the first, at her request, slipped into the chambers through the secret tunnels. His face pale, he had set by her bedside, her hand in his, and listened without interruption to everything she had had to say. When she had asked that he send for her mother, he had bowed his head over their clasped hands, until her knuckles brushed his forehead. Lady Arianna had followed him, her brows drawn tight as she listened to what Clarke told her, Lord Marcus at her side. Clarke hadn’t been able to finish her tale before Lady Arianna spat at the floor and cursed Pike’s name.

“Of course you will have my backing, your majesty. Anything over that treasonous cunt.”

A knock comes to the door, and Clarke calls entry. Octavia steps through the door and gives a low bow.

“Everything is ready, your majesty.”

“Thank you, Octavia.”

Octavia had burst through the doors to her room that day with the ferocity of a wild jungle cat from Essos. She had glowered at them all, taken several steps to Clarke’s bed, bowed and said. “I will be taking over the queen’s protection from now on.” No one had thought to argue.

After Princess Arianna had come a whole slew of other nobles. The lord of Riverrun, her uncle Lord Jonathon, had eyed her with a new sort of respect and promised to stand at her side if the time should come.

Her father’s brother had been less easy to convince. Lord Arthur had stared down at her in the bed as if he thought she was finally where she ought to be, and crossed his arms, ignoring the glare of Lord Marcus and Octavia at her sides.

“This is just what you deserve, reaching higher than your station.” He had shaken his head, his lip curling. “What can you be thinking, to take on the Lannisters? They are the most powerful house in the land, they have the most money and the most arms.”

“Not against us all united, uncle.” Clarke had told him, as carefully as she could.

“You are a foolish child, playing at these games.”

“I am no child, uncle.”

“You will get us all killed, our house will never know another generation!”

“I am your queen,” Her voice had become steely. “And I am asking for your allegiance.”

“Lord Pike will tell anyone and everyone that you are no true queen.” Her uncle had sneered at her, and she had risen a brow.

“If I am not your queen, then I am still the head of our house, and your opinion does not matter.” Her uncle’s face had dropped, and she had watched as he struggled for the right words.

Eventually he too had bent a reluctant knee, and she had four of the great houses at her command.

“It’s time, your majesty.” Octavia steps into the room again, and Clarke lets Harper surveys her one final time, before nodding her approval. She is escorted from the castle to the Great Sept with a tight, loyal group of guards at her sides and she can hear the cheers of the waiting small folk as if from far away, though she is only in her carriage.

The lords of the Stormland had needed a gentler touch. A land steeped in the history of traditions and knights, the Stormland lords had become used to one of their own sitting the throne and the privileges this afforded them. She had had the room emptied, but for the Grand Measter, and when Lord Mertyn, now the most powerful Lord in the Stormlands stepped into the room he found a wan, pale woman confined to a sick bed.

“My Lord,” She had offered him a seat, and graciously accepted his bow. Her voice had taken on a breathless, anxious quality. “I am so glad you came, I don’t know who to trust.”

“Your majesty, I am so sorry for your loss.” His sincerity had touched her. “His majesty…” He trailed off, shaking his head, and she brushed at a tear that escaped down her cheek. “We are glad that you at least were spared.”

“Thank you for your kind words,” She had touched uncertainly at her covers, “Many do not feel similarly, I fear.” At his curious look, she had continued. “I am not safe my Lord,” She hesitated and brushed at her stomach again, lingering long enough for him to notice. “We are not safe.”

His eyes had widened and he had stuttered. “You mean to say…”

“A woman knows, my Lord.”

He had pledged his support moments later, stating, “You are a Stormlander now, my lady.”

Now, as the door to the Great Sept swings open, she walks to her place on the dais certain that no one of any importance will rise to object to her. Her knees settle against the velvet cushion and as the High Septon speaks the ancient words, she feels the eyes of the kingdom resting upon her shoulders. Each one of these people will fight for her if they must.

“May the Warrior grant her courage, may the smith grant her strength.” The Septon concludes and glances down at her, his eyes cold. She knows he hates crowning a woman more than anything, but the Most Devout, who give voice to the wishes of the Seven in this world, have always had a good relationship with the Tyrells. Her father's frequent visits to Oldtown, where they gathered, had seen to that.

“Arise, your majesty.”

She stands, and the dark gown falls in waves against her, the golden embroidery and carefully selected sapphires heavy against her bosom.

“In the name of the Seven, I now pronounce Clarke of House Tyrell, first of her name, Queen of the First Men, Protector of the Realm.”

The crown settles upon her head and she feels her shoulders straighten, her chin tilt up. As she looks out over the watching congregation, she knows that no one will challenge her now that she is queen.

Particularly with Pike of House Lannister rotting in a black cell far below the castle.

—-

#clexa #clexa gotau #clarke griffin #commander lexa #clexa fic

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abby-the-writer · 27 days ago

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“This Is What Makes Us Girls”

Starter with @thecleverestorm

✧══════•❁❀❁•══════✧

Esteemed

Dear Lady Maris Baratheon,

I hope my letter finds you in good health. To be honest, I’m unsure where should I start my letter. I’m partially writing this because my mother has encouraged me to do so, and partially because, even when even though Kermit and I are not as close as I am with Oscar and he’s a bit of a killjoy sometimes, I love my brother and I will always have his best interests in mind. I have never been a social butterfly, I would very much rather to stay in my room reading and writing, or with my dogs, and, honestly, I express myself better with written words than speaking them aloud; but I would like to get to know the lady whom my eldest brother has given his affections to. Kermit speaks highly of you, and I can tell he is completely smitten with you. I can only wonder what kind of woman you might be. I’d really like us to meet, and get to know each other. Maybe I could visit you whenever you have some time? Or you could visit me, I really wouldn’t mind. I shall be patiently waiting for your answer, so there is no need to rush.

Warm regards

Yours truly

Sincerely,

-Abigail Tully.

✧══════•❁❀❁•══════✧

Abby couldn’t help but reread the letter she had written for Lady Maris over and over again. She stared at the words and phrases she had crossed out and the small spots of ink on the paper, and felt embarrassment creep up her spine. She reprimanded herself for not being more careful with her writing, but she had no time to write down the final version of the letter in a clean piece of paper, so she folded it as it was, placed it inside the envelope and sealed it with red wax, painting the center of the newly pressed seal subtly with blue paint, like she always did with her letters.

Right after the letter was sealed, the door of her room opened and her mother came inside. Lady Jenny greeted her daughter with a smile and closed the door behind her. Abby smiled at her mother in return, knowing her mother encouraged her to write it with her best interests in mind, as well as Kermit’s.

“Did you finish the letter, my darling?”, she asked and Abby nodded. “That’s a good thing. I know you get nervous while interacting with other people, especially with girls near your age, but I can’t help but wish…”.

“I know, Mother”, Abby gently interrupted her. “You can’t help but wish I had more friends. I know. And I know you mean well, so don’t worry, I won’t hold it against you”.

Her mother smiled and kissed her forehead with her characteristic gentleness. Abby loved her mother more than anything in the world, but she couldn’t help that feeling of being overwhelmed with her mother’s insistence of making more friends and interacting more with the other girls. And it’s not that she didn’t want to make friends, she really wanted to, but she didn’t really know how. The mere thought of having to talk with someone other than a family member made her freeze on spot. But, anyway, Lady Maris Baratheon was going to be Kermit’s wife, so what could possibly go wrong?

“Well, my darling, I must be going. I just came here to check on you”, Lady Jenny said and kissed her daughter’s forehead one last time. “I have some thing to talk about with your father. Make sure to send the letter and don’t let it sit on your desk gathering dust, alright?”.

“Yes, Mother”, she said and nodded slightly.

“That’s my girl. Goodbye, sweetling. See you at supper”. And, that said, Lady jenny Tully left her daughter’s room.

Abby sighed and called in her most trusted handmaid, a girl named Willow, who had come with her to King’s Landing for the Winter Court. The maids sure were gossipy, which was really an advantage, but they sure were efficient. Once she came in, she curtsied and Abby handed her the letter.

“Take this letter to Lady Maris Baratheon”, she said with her usual gentle voice.

The maid curtsied again and took the letter with a quiet “yes, my lady”. Shortly after, she scurried out of the room, heading straight to do her duty.

Abby took her dog, Bread, in her arms and sat on the bed as she held him, caressing his soft orange-yellow and white fur. The dog looked at her with his usual sweet, adoring eyes and tilted his head. She just hoped Lady Maris liked her letter enough to pay an ounce of attention to her, for if she didn’t, she would’ve failed miserably. She could only pray it didn’t end in a catastrophe.

#✎﹏﹏I Want Auroras And Sad Prose: Threads #✎﹏﹏Character: Abigail “Abby” Tully #✎﹏﹏With: Maris Baratheon #a song of golden fire and black blood #a song of ice and fire

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unicyclehippo · 5 years ago

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Modern Bodyguard AU!

joel isn’t impressed. joel isnt easily impressed, that much is true, but ellie can tell. not from his body language—he always stands like someone is a threat, even if that someone is five foot nothing and looks thinner than a rake under their jacket—but from his voice, which is flat, words clipped short, sentences shorter.

‘i assure you, dina is the best there is.’

ellie rolls her eyes. that voice she recognises very well—oliver tully, an unfortunately common face around the bodyguard business. he knows everyone and everyone knows him. and despite the fact that he’s a known leak when it comes to tour dates, lunchtime appointments, bars a musician might frequent, he’s also really good at his job.

‘tully, tell me why i oughta trust you again? last time we were here, you got us chased down main by a mob of rabid fans.’

‘rabid,’ tully laughs. ‘that’s a bit extreme—‘

‘one girl was literally foaming at the mouth. if that ain’t rabid, i don’t know what is.’

‘enthusiastic.’

‘uh huh.’

ellie grins, shakes her head. no, joel is not impressed, not one bit.

‘as it is, joel—‘

‘miller.’

‘miller,’ tully corrects himself, and makes every effort to ensure the hurt in his tone is clear to joel. ‘this isn’t about me or anything that i might have said in passing to abigail peterson, this is about the safety of our girl. ah,’ tully squeaks, clears his throat. ellie can see past the blockade joel is making of his body that tully’s hands are shaking as he smooths down the front of his colourful jacket. ‘your girl, of course. and you’re in luck! i have the pleasure of introducing you to dina hayes.’

joel grunts.

‘she’s trained in several martial arts, is familiar with counter-surveillance, is very good at crowd control,’

‘can she talk for herself?’

‘i can,’ an unfamiliar voice agrees.

ellie sits bolt upright from her couch, boot heel thumping against the coffee table. from the silence outside, it’s clear that they all heard her, but mercifully joel continues interrogating this dina person without calling her out on it.

after the initial literal jolt of interest, ellie forces herself to relax. she can’t lay down but she sits at the edge of the couch and closes her eyes, strains her ears to listen to this voice. beautiful voice. there’s a rasp to it that hits on some words but not others, and ellie is eager to get her to talk more freely and for longer so that she can know what words they are, and why, and to get a feel for the lilt and linger of her cadence and pronunciations, because as it is, her short replies aren’t enough for ellie to—to what? they just aren’t enough.

‘i’ll talk with ellie about it,’ joel finally says. ‘and i’d like to give you a test, if you’re up for it.’

‘always.’

‘alright.’ joel scratches at his jaw. ‘alright. wait here.’

he retreats up the stairs into the room where ellie is waiting, closing the door behind him. for a moment he just looks at her, brows raised, and then he says,

‘y’know, it’s not ethical to hire someone just cause you think they’re pretty.’

ellie scowls at him. grabs for her guitar. ‘that’s not—i didn’t even see her.’

he shrugs. ‘seems to know her stuff. i can take her out, see how she does. get maria to draw up an NDA and a contract—three months maybe, probation.’

‘right.’ ellie’s shoulders hunch as she leans over the guitar, remembering why exactly they’re hiring for a new bodyguard. it had been a hard transition—ellie isn’t ever the most fond of change and so getting rid of david had been...hard.

‘you alright?’ ellie grunts. ‘can you use your words? i don’t want to leave you here if you’re not okay,’ he adds. to someone else, the words might sound none too gentle, but ellie can hear it. the faint adjustment as he forces himself to be quieter, and calmer.

ellie plucks a discordant note on the guitar. ‘i’m okay to leave. just thinking about. david.’ she doesn’t have to look up to feel joel’s glare. ‘sorry.’

‘not your fault, kid. but don’t you waste one second of time thinkin’ about him—he’s not worth it.’

‘i know.’

‘good. i’m going to spar with this hayes lady, see if she’s any good, and,’ joel pauses. when ellie glances up, she finds him watching her. specifically, her hands as they pluck across the strings of her guitar in an unfamiliar tune. ‘see you in an hour.’

it’s been one hour and fourteen minutes and ellie is sitting on a stool placed halfway between the door and the coffee table. her coffee is cooling there and making faint rings around ellie’s own face, staring up at her out of a folded over magazine and a cheery yellow post-it note that reads, in strict block letters, THINK ABOUT IT.

she hasn’t been thinking about it—an offer made in the magazine by another artist, apparently, who is interested in working with ELL, the rising country star. she’s been thinking about how it’s been one hour and - fifteen minutes now and joel isn’t back. she’s not worried; she can hear him outside. it’s just odd that he’s late, which he almost never is, and also it’s extremely odd that he’s, well, if she didn’t know any better she might think that joel is being friendly.

joel.

there’s a knock at the door and ellie can’t decide whether to sit or stand so she’s an awkward way between the two, pushing herself up off the stool, when she calls for them to come in.

‘ellie,’ joel greets her with a big grin. ‘sorry i’m late.’

‘it’s fine.’

he doesn’t buy it but he looks her over and decides to agree, obviously, when he nods. ellie feels her heart rate settle—if joel thinks she’s okay, then she probably is, after all—and she sits and directs her attention to the second pair of boots standing in her doorway. up to comfortable black jeans. up to a plain shirt and a shining jacket ellie will have to talk to her about. up to long brown hair and up to a nice smile and and then, finally, up to a pair of warm brown eyes.

‘hey. dina hayes.’

‘hey. ellie knight.’

dina hayes’s eyes crinkle at the corners, and it makes ellie blink and look away because she’s been making way too much eye contact. she focuses on joel, who has moved a few paces back to lean against the wall. he raises his brows, shrugs.

‘hello, ellie knight,’ dina hayes says, and though the words and tone are faintly teasing, ellie doesn’t think she minds. ‘i’m going to be your bodyguard for the next three months. provided i don’t steal from you or let you get arrested or smoke on duty.’

it takes a moment for ellie to form a reply, because this is the most she has heard dina hayes speak and her voice is wonderful. warm in tone and pitch, rasping now and again. orange, ellie thinks. orange like a tabby cat in the sun, orange like campfire, orange like bleached red dust and dust motes in a red room. the images come instantly, flooding her, and she picks some out and discards others as incorrect, but all of them are good. not quite right, but all good.

‘second hand smoke isn’t good for anyone but i need my lungs,’ ellie tells her, shrugs.

‘ah, that makes sense. i thought miller meant weed but second hand smoke, that makes sense.’

‘no drugs,’ joel barks from his place against the wall.

dina hayes grins, winks at ellie. ‘only riling you up, miller. this is a drug free temple,’ she tells him, gesturing to her body.

‘it makes me anxious anyway,’ ellie tells her, because she knows this game. she widens her eyes to look innocent. ‘not that i’ve ever smoked weed, joel.’

he mutters something about hating them both, and girls, honestly, and he’s going to have a heart attack before retirement so the payout had better be good, and lets himself out. he doesn’t close the door, and ellie suspects that he hasn’t gone far.

‘so, you’re okay with me hanging around?’ dina hayes asks.

‘yeah. if joel says you’re good, i trust him.’ dina nods at that, clearly making a mental note. ellie pauses. ‘your jacket.’

‘hmm? cool, right?’ dina hayes swivels to show it off and the sleeves brush against the body of it, the sound swishing and shushing and—dina hayes is grinning so ellie just nods.

‘it looks good.’ technically correct, since that’s not the issue ellie has with it.

‘thanks!’

ellie stands, eyes flicking to her guitar to make sure the movement hasn’t jostled it. she hasn’t been touching it but it’s instinctual now. she crosses the room, hand outstretched, and meets dina hayes’s eyes for a second time.

‘dina hayes, welcome to my team. i hope you enjoy it.’

the hand that takes hers is small and shakes firmly, calloused palms and even a few scars. warm.

‘i believe that i will, ellie knight.’

#prompt fill #ellie x dina #video gays #tlou

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asongofgoldenfireandblackblood · 3 months ago

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Youngest daughter of Lord and Lady Tully & The River Pearl, Dakota Blue Richards, she/her - @abby-the-writer Welcome Lady Abigail "Abby of House Tully! We’re delighted to see that she has arrived safely on her journey to King’s Landing. Around the court, the sixteen-year-old has been praised as Charming, Artistically Gifted and Kind, but some have whispered she is also Introverted, Naive and Easily Distracted. Upon her arrival, it is clear that she is in support of the reign Westeros’ first ruling queen, and while the eyes of our court may be fixed on House Targaryen, Queen Rhaenyra, and the future of Westeros, her true allegiance will always be to House Tully and her family. Favi. 20. She/Her. GMT -4. Triggers: Animal death/cruelty

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adamwatchesmovies · 6 years ago

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The 76th Golden Globe Awards

This’ll be my first year watching the Golden Globe Awards, which I might as well do as I’ve seen most (though it should be noted not all), of the films nominated. The TV portion doesn’t particularly interest me, as I have basically no time to watch anything but movies, so we’ll skip that section.

Before I dig it, it should be noted that I’ve NOT seen BlacKkKlansman, Destroyer, Can You Ever Forgive Me?, The Old Man & The Gun, Stan & Ollie, Dumplin’, Mirai and I only managed to squeeze in about half of Roma (it’s great so far) and will finish it later today or tomorrow. My choices (should I be eligible to vote, are highlighted in bold).

Best Motion Picture Drama:

Black Panther

BlacKkKlansman

Bohemian Rhapsody

If Beale Street Could Talk

A Star Is Born

What’s Bohemian Rhapsody doing on this list? I’d have rather seen The Rider nominated but it’s too small a movie so I knew it wasn’t going to happen. Between these choices, it’s a tossup between Beale Street and A Star is Born for me.

Musical or Comedy:

Crazy Rich Asians

The Favourite

Green Book

Mary Poppins Returns

Vice

This one’s tougher. I feel as though Green Book is going to be the winner but I think The Favourite is the better film.

Best Performance in a Motion Picture - Drama Actor:

Bradley Cooper – A Star Is Born as Jackson Maine

Willem Dafoe – At Eternity's Gate as Vincent van Gogh

Lucas Hedges – Boy Erased as Jared Eamons

Rami Malek – Bohemian Rhapsody as Freddie Mercury

John David Washington – BlacKkKlansmanas Ron Stallworth

I’ve got no idea who is going to take this category. I can tell you it isn’t going to be Lucas Hedges and it also probably won’t be Willem Dafoe. My money’s on Bradley Cooper.

Actress:

Glenn Close – The Wife as Joan Castleman

Lady Gaga – A Star Is Born as Ally Maine

Nicole Kidman – Destroyer as Erin Bell

Melissa McCarthy – Can You Ever Forgive Me? as Lee Israel

Rosamund Pike – A Private War as Marie Colvin

I think Lady Gaga has a strong chance but should she not be the winner, I’d actually like to see Melissa McCarthy take the prize home - anything to direct her towards dramas instead of the lame comedies she’s been thrown in for the past few years.

Best Performance in a Motion Picture – Musical or Comedy: Actor:

Christian Bale – Vice as Dick Cheney

Lin-Manuel Miranda – Mary Poppins Returns as Jack

Viggo Mortensen – Green Book as Frank "Tony Lip" Vallelonga

Robert Redford – The Old Man & the Gun as Forrest Tucker

John C. Reilly – Stan & Ollie as Oliver Hardy

Christian Bale has a good chance here. His transformation is incredible but I dunno, I have a feeling Viggo’s got this one.

Actress:

Emily Blunt – Mary Poppins Returns as Mary Poppins

Olivia Colman – The Favourite as Queen Anne

Elsie Fisher – Eighth Grade as Kayla Day

Charlize Theron – Tully as Marlo Moreau

Constance Wu – Crazy Rich Asians as Rachel Chu

Probably the toughest category for me to judge but I’m gonna go with the most unflattering - and therefore bravest - performance.

Best Supporting Performance in a Motion Picture Supporting Actor:

Mahershala Ali – Green Book as Don Shirley

Timothée Chalamet – Beautiful Boy as Nic Sheff

Adam Driver – BlacKkKlansman as Flip Zimmerman

Richard E. Grant – Can You Ever Forgive Me? as Jack Hock

Sam Rockwell – Vice as George W. Bush

I didn’t even see the movie but I think Richard E. Grant has this one. I’m not gonna vote for him because... I didn’t see the movie but I got a feeling.

Supporting Actress:

Amy Adams – Vice as Lynne Cheney

Claire Foy – First Man as Janet Shearon Armstrong

Regina King – If Beale Street Could Talk as Sharon Rivers

Emma Stone – The Favourite as Abigail Hill

Rachel Weisz – The Favourite as Sarah Churchill

I can’t choose between the two Favourite actresses so I’m going to go with Regina.

Other: Best Director

Bradley Cooper – A Star Is Born

Alfonso Cuarón – Roma

Peter Farrelly – Green Book

Spike Lee – BlacKkKlansman

Adam McKay – Vice

Bradley Cooper is also a strong contender but I think Roma is the most stylish of all of these films.

Best Screenplay

Alfonso Cuarón – Roma

Brian Hayes Currie, Peter Farrelly, and Nick Vallelonga – Green Book

Deborah Davis and Tony McNamara – The Favourite

Barry Jenkins – If Beale Street Could Talk

Adam McKay – Vice

Alfonso Cuarón is also a possible winner I think.

Best Original Score

Marco Beltrami – A Quiet Place

Alexandre Desplat – Isle of Dogs

Ludwig Göransson – Black Panther

Justin Hurwitz – First Man

Marc Shaiman – Mary Poppins Returns

Best Original Song

"All the Stars" (Kendrick Lamar, SZA, Sounwave, Al Shux) – Black Panther

"Girl in the Movies" (Dolly Parton, Linda Perry) – Dumplin'

"Requiem for a Private War" (Annie Lennox) – A Private War

"Revelation" (Jónsi, Troye Sivan, Leland) – Boy Erased

"Shallow" (Lady Gaga, Mark Ronson, Anthony Rossomando, Andrew Wyatt) – A Star Is Born

Best Animated Feature Film

Incredibles 2

Isle of Dogs

Mirai

Ralph Breaks the Internet

Spider-Man: Into the Spider-Verse

I’ll be happy as long as it ISN’T Incredibles 2 or Ralph Breaks the Internet. I enjoyed both films but they’re not “best” material.

Best Foreign Language Film

I’ve seen NONE of the nominees in their entirety, so I’ll abstain from commenting on this category.

#golden globes #76th golden globes #spider-man: into the spider-verse #a star is born #black panther #the favourite #roma #if Beale street could talk #green book #at eternity's gate

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brokencrownsrp · 4 years ago

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Would you rather see Abigail Cowen or Emma Watson? Are there any houses or wc's you could see either in? thank you!

HELLO ANON & THANKS FOR THE QUESTION ! we reached out to our members & we’d love to have abigail cowen ! i think she’d be an excellent fit for bastien bolton’s younger sister or a lady of house tyrell, redwyne, hightower, lannister, or tully ! i hope that helped !

#game of thrones rp #asoiaf rp #fantasy rp #got rp #answered

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glenngaylord · 6 years ago

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MY MOMENTS OUT OF TIME IN FILM 2018

Instead of a Top 10 List, every year I like to honor a long-discontinued but influential annual column from Film Comment magazine. I couldn’t wait for my father to come home from work with the “Moments Out Of Time” issue. The writers would cite their favorite scenes, images, or lines of dialogue, even from films they may not have liked, because let’s face it, even bad films may have a great moment or two. This was a great year in film, although I admit some of my favorite moments were films or series made for television. Whether it’s Alex Borstein wielding her trusty plunger around the Catskills in THE MARVELOUS MRS. MAISEL or Amy Adams waking up from a drunken stupor in the unforgettable SHARP OBJECTS, these shows had more indelible scenes than all of the Marvel and DC superhero movies combined.

Still, I found myself lucky enough to see the staggeringly beautiful ROMA twice in a theater, because seeing it on Netflix doesn’t do it justice. If that’s your only option, however, see it and see it with its glorious empathy oozing out of every frame. EIGHTH GRADE took me by surprise with its unassuming, off-the-cuff filmmaking style. Beneath that I found an aching, contemporary story of a young girl dying to connect with somebody, anybody…her cracked phone an apt metaphor for a world in which our societal sickness lies buried in an addiction to our screens. PADDINGTON 2, even more so than its wonderful predecessor, gave us the immigrant experience from an accident-prone, marmalade-loving cuddly bear who just wants to unite everyone. BOHEMIAN RHAPSODY, despite its Powerpoint presentation of a story, oozed with so much emotion, the joy of creating, the beauty of people seeing you, and the sheer nostalgia of it all, I found myself crying throughout. A STAR IS BORN, while imperfect, had moments of such gorgeousness, especially the undeniable chemistry of its leads, it’s my prediction to win the Best Picture Oscar. VICE, another Oscar front runner, had fantastic performances and was nonstop fun, but, for me, didn’t quite lick the enigma of Dick Cheney and demonstrated some juvenile instincts of its writer/director.

I saw a ton of films, but even I can’t see them all. I missed SHOPLIFTERS, BAD TIMES AT THE EL ROYALE, BEAUTIFUL BOY, and BURNING, among many others…but will catch up with them soon. So having said that, here, in no particular order, are my Moments Out Of Time In Film for 2018:

Gabe invites Kayla over for a “first friend hangout” dinner of chicken nuggets and beautifully lived-in, awkward, nerdy charm, telling this lovely, insecure young girl, “You are awesome” - melting all of our hearts with that sweet, simple declaration. It’s one of the most beautiful scenes I’ve ever seen and a moment our Kayla richly deserved.- EIGHTH GRADE

A young, pregnant Mexican housekeeper tracks down the father of her child, finding him at some type of military training camp. When she delivers the news to him, he screams at her to stay away from him and runs off to join his buddies. We never see her reaction, instead experiencing the moment from a somewhat removed distance. A lesser filmmaker would have cut to her startled, hurt face, but Alfonso Cuarón knew that we’d feel her isolation and devastation more strongly if we didn’t focus on her. Only a master filmmaker would make such an indelible decision, along with a thousand other great ones. - ROMA

A Peruvian bear takes his Aunt on a fantastical, eye-exploding, stunning tour of London via a pop-up book come to life. One of the most astounding animated sequences of all time. - PADDINGTON 2

A band looks out at the masses of people clapping along in sync to one of their songs, and in that moment, the connection feels palpable. Everyone there, everyone who watched knew this was the moment when legends became immortal. - BOHEMIAN RHAPSODY

Nicole Kidman completely transforms herself yet again as a hardened cop with a life full of traumas etched onto her tortured face. Just watching her lurch towards a crime scene, ambling like Jack Skellington convinced me that to watch Kidman at her peak is to witness greatness. - DESTROYER

A woman in labor and with a horrifying nail injury to her foot, crawls into a bathtub to give birth to a child. Unable to make a sound lest she capture the attention of a murderous alien slithering through her house, she agonizingly holds it all in until a competing noise allows her to let out a pained, visceral scream. - A QUIET PLACE

A young cater-waiter gets invited onstage to sing her song with a headlining rock star. Surprised by her power, surprised by the surge and size of the crowd, her guileless reaction and blazing talent cut through, quickly proving the movie’s title. - A STAR IS BORN

Regina Hall sits on a rooftop with two of her female employees from a HOOTERS-like establishment. They’re all in a transition period in their lives, unsure what the future brings. They’ve all gone through an intense day and let it all out with extended screams, an unforgettable, undeniable female rage. This small, simple, subtle film is also one of the year’s best. - SUPPORT THE GIRLS

More groundbreaking than I had ever thought, Fred Rogers soaks his feet in a little tub and invites his black, gay co-star to do the same, breaking taboos on a children’s show way ahead of its time. - WON’T YOU BE MY NEIGHBOR?

Charlize Theron shows us the real pain of motherhood, never once feeling like a glammed-up version of the harsh realities, and yet saves its most shocking sucker punch for its final moments, delivering a reveal as unexpected as the one I didn’t see coming in SHARP OBJECTS. - TULLY

Queen Anne (Olivia Colman), referring to Emma Stone’s Abigail, tells Lady Sarah( Rachel Weisz), “I like it when she puts her tongue inside me”…which is followed by Stone giving Weisz the year’s best side-eye. - THE FAVOURITE

In a film filled with shocking moments - the odd clucking sounds, the decapitated bird head, the unexpected death of a major character, the eerie, incongruous reflection of a teen’s face in a school window, the most jolting moment comes when Toni Collette stands over her offspring’s bed and says, “I never wanted to be your mother”. Stunned, she seemingly scoops those words back down her throat in an attempt to make them go away. For this moment alone, and she gives a tour de force performance here, Collette enters the pantheon of actors who made themselves immortal. - HEREDITARY

Modern day cowboys sit around a perfectly shot nighttime campfire as our hero questions his place as a man in this world. Masculinity has rarely been shot through with such tenderness as in every moment of this quiet stunner. - THE RIDER

“Gucci!” - EIGHTH GRADE

A young daughter ever so patiently and lovingly tells her PTSD-afflicted father that their views on how to live their lives may not converge, reminding us that histrionics don’t necessarily make for great conflict. You can find it even when people act like adults and show decency towards each other. - LEAVE NO TRACE

My heart broke when a young Lebanese boy tried every way possible to keep his sister from being sold off as a child bride. The kinetic filmmaking of this sequence mined every second for peak emotions. - CAPERNAUM

A blisteringly romantic tale of star-crossed lovers in Post War Poland wins the swoon award every time Joanna Kulig (a dead ringer for Jennifer Lawrence) sings the refrain, “Oy yoy yoy” - COLD WAR

Jack Black, playing a hard-partying character whose accident leads to the lifelong paralysis of his new friend (Joaquin Phoenix), meets up with him many years later. In a short but painful scene, we see the wreckage of a life and the profound sorrow written across Black’s face. I never thought I’d type the words, “Jack Black’s acting made me sob”, but there you have it. If Beatrice Straight can win an Oscar for a single scene, then Jack Black can too. Of course, I’m not even getting into how great Jonah Hill was in this film, but I’d be here all day. - DON’T WORRY, HE WON’T GET FAR ON FOOT

The matriarch of a family takes their housekeeper to a baby store to buy a crib when the chaos of the Corpus Christi Massacre erupts in the streets below, turning a simple shot into something epic, grand and inconceivable. - ROMA

Let’s face it. It had some of the best and bitchiest one liners of the year: “I pity your wife if you think six minutes is forever” , “Roger, there's only room in this band for one hysterical queen”, "Tell him thanks for the birthday cake. And tell him you're an epic shag”, and the beautiful, un-ironic exchange, “FREDDIE: Let’s go and punch a hole in the roof of Wembley Stadium. BRIAN: Actually, Wembley Stadium doesn’t have a roof. FREDDIE: Then we’ll punch a hole in the sky,” - BOHEMIAN RHAPSODY

Kristen Stewart recounts how Joan Jett gave her some advice on how to capture her essence when she played her in THE RUNAWAYS. Jett told her to “pussy that wood” in reference to how to attack her guitar. Advice only a take-no-prisoners, blazingly alive woman could give to another in this energizing look at a true legend. - BAD REPUTATION

All of the tired superhero tropes we’ve become used to in live action appear fresh and thrilling when animated. Who knew I’d thrill to a whole slew of Peter Parkers swinging through New York on their webs? Who knew Lily Tomlin would appear in this and absolutely kill as Aunt May? Who knew Kathryn Hahn would even appear in a Marvel movie and skillfully weaponize a nerdy persona? - SPIDER-MAN: INTO THE SPIDER-VERSE

Sure, we all loved that moment when Lady Gaga sang “Shallow”, but let’s not forget another star was born when Henry Cavill got up off that tiled bathroom floor, doffed his suit jacket and reloaded his fists to jump back into one of the best fight sequences in film history. - MISSION IMPOSSIBLE: FALLOUT

Connecting the dots of the past with our present day mess of a country, Spike Lee ends his film on an unsubtle yet vital montage of pure rage. - BLACKKKLANSMAN

In a wonderful reversal to the original, the murderous Michael Myers looks out a backyard window to see Laurie Strode (a fierce Jamie Lee Curtis) standing amongst the hanging sheets. Who’s the monster now?!! - HALLOWEEN

A montage detailing the many prison escapes of our protagonist, an aging, lifelong bank robber (Robert Redford still displaying his undeniable charisma at 82), provides a wonderfully conflicted view of a man who must commit crimes in order to feel alive. - THE OLD MAN AND THE GUN

A bitter, outrageously dead-inside mother jogs on a treadmill, moving cynically forward in life despite having a missing child she barely noticed anyhow and a crumbling Russian society around her. - LOVELESS

“Did you just look at me? Did you? Look at me. LOOK AT ME! HOW DARE YOU! CLOSE YOUR EYES!” - THE FAVOURITE

Despite endlessly terrible scenes of tourists dancing and eating gelato, Clint Eastwood finds a magic power in having the real life heroes on that train play themselves as they thwart a terrorist attack. Although a failed experiment of a film, those 10 minutes felt real and raw and undeniable because of its stunt casting and astute directorial choices. - THE 15:17 TO PARIS

Smack dab in the middle of the movie, it ends. Roll credits. Oh wait. Things didn’t go so swimmingly? Let’s continue. A hugely entertaining fake-out gives self-reflexive cinema a good name. - VICE

After a traumatic incident at a beach (a stunningly shot, hugely suspenseful scene with incredible sound design), a housekeeper looks out the window of a car with a sense of peace as the reflections from the window gorgeously whisk past her lovely face. - ROMA

In the male dominated world of gun-toting action films, it was refreshing to see a group of women, led by a soulful performance by Natalie Portman, lock and load and enter the Shimmer. - ANNIHILATION

A Russian Engineer named Andreyev (Paddy Considine) panics when ordered by Stalin to record a symphony which already occurred. He quickly assembles a ragtag group of people to recreate the concert, telling this terrified assembly living under a murderous regime, “Don’t worry, nobody is going to get killed. I promise you. This is just a musical emergency.” Not a great film, but Armando Iannucci and company know their way around a scabrous line or two. - THE DEATH OF STALIN

Most people will cite the great single take outside a limo as its driven from a poor side of town to a wealthy side. Don’t get me wrong, it’s a fantastic piece of cinema, but my mind gravitated towards another moment. A grieving widow lets her dog run loose in another widow’s apartment. The puppy stops at a closet door and reacts to what’s behind it. We know what it is, and she knows what it is even before we’re given visual confirmation. A fantastic storytelling moment. - WIDOWS

Evan Peters, sitting in a car at a gas station, is joined by the actual person he’s portraying, melding narrative with documentary in such an original way. - AMERICAN ANIMALS

Although chock full of special effects in a genre I tend to find forgettable, Michael B. Jordan commanded attention in a simple, quiet scene inside a museum, finding danger and intelligence in every line. He was the REAL special effect of this film. - BLACK PANTHER

Scotty Bowers may be a creepy hoarder, but when you’re 95 and have no f*cks left to give, you’re gonna spill some tea about Hollywood Stars and we will soak it all up in this one-of-a-kind documentary - SCOTTY AND THE SECRET HISTORY OF HOLLYWOOD

The slowest moving conveyor belt of all time provides one of the most well-timed, hilarious payoffs of the year. We need an award for Best Supporting Prop! - GAME NIGHT

Leslie Mann tries to quietly sneak out of her daughter’s Prom night hotel room but electrocutes herself behind the TV console in a delicious bit of physical comedy. - BLOCKERS

A mother desperate to track down her troubled young son gives drugs to an addict in return for more information, showing just how far she’s willing to go. - BEN IS BACK

A closeted up-and-coming movie star confesses to his “golly gee” midwestern wife that he’s not happy and can’t pretend anymore. We get a naked glimpse behind both of their veneers. It’s a stunning, hugely empathetic moment for characters we’ve respectively and heretofore dismissed as a sociopath and a rube. - THE HAPPYS

Alex Borstein’s lesbian character Susie Myerson from THE MARVELOUS MRS. MAISEL has met her feature film match with Melissa McCarthy’s equally nihilistic performance as Lee Israel. To see her jousting with Richard E. Grant in any random moment in this wonderful film is to experience acting heaven. I loved how their final moments together could have easily turned to mush, but by staying true to their salty characters, they ended things in a deliciously dark manner. - CAN YOU EVER FORGIVE ME?

A comedy duo enacts a favorite routine onstage at the risk of one of their’s health. It’s scary, but the love and respect they have for each other shines through. - STAN & OLLIE

I’m sorry to say it gave me the “Made For TV” vibes, but it still found power when Nicole Kidman’s character busts her son out of an Ex-Gay Center, calling out its owner for his utter lack of qualifications. There’s nothing quite like a stifled, repressed woman finding her voice. - BOY ERASED

“I’m just like you” - says a privileged suburban teen as he bounds out of his McMansion and into a fancy SUV. While I generally enjoyed the film, this tone deaf opening line had me futilely looking around for my big house and fancy car. Sometimes a moment out of time is a wrongheaded one. - LOVE, SIMON

In a documentary full of insane twists and turns, the big moment for me came when we were treated to a clip from DESPERATELY SEEKING SUSAN. Madonna breezes past our smiling, tight jean-sporting identical triplets, the new “It Boys of New York”, the flush of newly-found fame written all over their faces long before their tragic fall. - THREE IDENTICAL STRANGERS

Say what you will about the endless 80s references, I want to live inside the swirling sequence which serves as an homage to THE SHINING. - READY PLAYER ONE

A Japanese woman dons a strange blonde wig and practices English and high fives with another ESL student, over-exaggerating her rounded open mouth as she speaks. - OH LUCY!

Constance Yu playing mah jongg slyly shows her deep wells of strength and strategic genius, nicely setting up a character who will surprise and charm us in equal measures. - CRAZY RICH ASIANS

Yes, it’s a pretty terrible movie, but there’s no denying the thrill of a certain pop legend’s long-awaited entrance by helicopter. It caused my friend Dennis to say out loud, “F*ck yeah, it’s Cher!” - MAMMA MIA!: HERE WE GO AGAIN

In an otherwise forgettable film, Jodie Foster’s memorable gait as the “Hotel” Nurse made me happily forget Kevin Spacey’s from THE USUAL SUSPECTS, and for that, I thank her! - HOTEL ARTEMIS

A young boy named Stevie tries to impress a bunch of older skateboarders with a stunt which sends him through a hole in a roof and crashing to the ground with a sickening thud. - MID90S

Renee: I thought you might want a sneak peek of what’s to come.  Ethan: I don’t know if you know what sneak peek means. You’re completely naked. - I FEEL PRETTY

Despite the gimmick of the movie seen entirely through laptop and smartphone footage, there’s electricity in the moment John Cho’s father character discovers his missing daughter has had a secret life. - SEARCHING

A dancer tries out a solo for a very strange company, unaware that each leap, spin or kick sends a trapped woman a floor below her into bone-crunching contortions. It’s a scene you can almost feel. There’s something rotten in East Berlin! - SUSPIRIA

Sure, Emma Stone worked out a great side-eye in THE FAVOURITE, but has there ever been an actor who seems born to them more than Emily Blunt? Still, my biggest emotional connection to this film came when Ben Wishaw sang “A Conversation”. A beautiful, sweet lament. - MARY POPPINS RETURNS

The site of Michelle Pfeiffer dressed as an elderly woman, cane in hand, hobbling through the streets of New York in a desperate attempt to cash her late mother’s government checks, the score a cacophony of horns and percussion, gave me DRESSED TO KILL shivers. - WHERE IS KYRA?

Think of it as SHARP OBJECT’s UK Cousin, as we watch Moll (a searing Jessie Buckley) tap into female rage in all its messy, bloody glory in this feature length primal scream. - BEAST

Packed with punch and urgency, the opening sequence made you believe you were actually experiencing a WWII aerial combat. Oh, and then it became a fun zombie gore-fest. - OVERLORD

A group of kids escape a gay conversion camp and pile into the back of a pickup truck. Did they make the right decision? Where do they go from here? A wordless homage to the final scene in THE GRADUATE packed a punch. - THE MISEDUCATION OF CAMERON POST

Blake Lively wearing clothes. That is all. - A SIMPLE FAVOR

A meeting with the family of a man who got their daughter pregnant goes terribly wrong, resulting in a slew of insults and threats. It’s a fully alive, oddly comical yet tragic sequence in a film which otherwise left me cold. - IF BEALE STREET COULD TALK

Typically known for her impeccable image (before the reality show circus, of course), this pop icon lets down her guard and hilariously tears into Janet Jackson and Paula Abdul. Had she been allowed to be more herself, her life might not have been as tragic. - WHITNEY

Glenn Close delivers the year’s best slow boil as the wife of a Nobel Prize winner who has secretly been his unheralded ghost writer all these years. Until things grow shouty and overwritten in the third act, Close holds a master class in barely suppressed rage. - THE WIFE

Bjorn Borg and John McEnroe, intense tennis rivals, meet up at the airport after their fateful match, the looks between them offering up a touching blend of competitiveness and respect and which will lead to their unexpected, lifelong friendship. - BORG VS. McENROE

In a moment of much-needed image rehabilitation, Anne Hathaway, as the GOOP-like actress perfectly named Daphne Kluger, wins her way back into our hearts just by the way she reacts to a priceless necklace being wrapped around her neck. Every shiver and glance in the mirror makes you love her in all her campy glory. - OCEAN’S 8

A woman gets pushed off a cliff and finds herself impaled on a tree branch, yet not only does it not stop her, she’s just getting started in this literal bloodbath of a feminist fantasy. - REVENGE

A man meets tragedy and finds himself in a wheelchair only to gain powers he never had before after undergoing an experimental procedure. In a fight scene involving an antagonist and a kitchen knife, Logan Marshall-Green surprises himself with each display of brute force coming out of him, making for one of the most brutal yet winningly entertaining melees I’ve seen on screen all year…and don’t forget that kitchen knife. It’s just the right button on this bit of ultraviolet slapstick. - UPGRADE

A young husband meets with a conflicted priest, and in a searing monologue, tells the man of the cloth that the world is such a hellscape, he’d rather his pregnant wife abort their baby than bring it up in such a terrible environment. It’s the first jolt of many in this nihilistic yet strangely hopeful film. - FIRST REFORMED

Presidential candidate Gary Hart (Hugh Jackman) confronts some press members who have staked out his home with the hope of catching him with a woman other than his wife. He indignantly rails against them, claiming he had a right to privacy. Oh, how times have changed. - THE FRONT RUNNER

Katja (Diane Kruger), a woman at the end of her rope, who has lost her family and confidence in the justice system, takes matters into her own hands in the literally explosive, inevitable, and crushing final scene. - IN THE FADE

Who knew that Hal Ashby had such a sincerely lovely relationship with his mentor, Norman Jewison? It’s nice to know that sometimes successful people in the film business actually help out their younger charges. - HAL

I’m not sure I ever really wanted to know what it really felt like to sit in a fiery tin can on the way to the moon and back, but now I do. It’s very well done, but I think I may need to puke. - FIRST MAN

A young man with AIDS (Cory Michael Smith) sits with his mother (Virginia Madsen) in a car, unable to truly be honest with her. The pain of it all comes across so clearly on their faces. - 1985

An oversized candy cane weaponized to fight zombies at Christmas time in Scotland. Oh, and it’s also a musical. Just go! - ANNA AND THE APOCALYPSE

I saw it twice to make sure I truly hated it, and yep, I still did…but the opening sequence in the school, the terrorist attack on the beach, and Natalie Portman banging on the table to protest a diner manager’s request for a picture will stick with me. Hopefully I will forget the other 100 minutes of this painfully unfocused, unfocused, pretentious mess. - VOX LUX

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thronesfms · 2 years ago

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𝐀 𝐑𝐀𝐕𝐄𝐍 𝐂𝐀𝐑𝐑𝐈𝐄𝐃 𝐀 𝐍𝐄𝐖 𝑳𝑬𝑻𝑻𝑬𝑹 𝐓𝐎 𝐓𝐇𝐄 𝐑𝐄𝐃 𝐊𝐄𝐄𝐏

+ 1 new application .

𝐀𝐏𝐏𝐋𝐈𝐂𝐀𝐓𝐈𝐎𝐍𝐒 .

ozge ozacar as taena allyrion , the lady of godsgrace .

phoebe dynevor as morrigan frey , the lady of the crossing .

saoirse ronan as lelia lannister , the lady of casterly rock .

milly alcock as narcissa clegane nee karstark , the dowager ruling lady of clegane's keep .

sophie turner as aneara tyrell , the lady of highgarden .

anya chalotra as vhaelysse velaryon , the lady of driftmark + aegon's broken betrothal .

lola petticrew as lysa 'lu' whent , the liege of harrenhal + darlessa's wanted connection .

han so hee as asha celtigar nee gargalen , the lady of salt shore . * adopted in house gargalen of turkish origin .

holliday graigner as aelinor targaryen , lady of castamere .

diego luna as robar rhoyce , lord of runestone + aegon's spy connection .

burak özçivit as altan dayne , ruling lord of starfall , seda's twin connection .

tommy martinez as mathias manwoody , lord of kingsgrave .

abigail cowen as rosaline manderly , lady manderly of white harbor + meryem stark's bestie connection .

pinar deniz as denyse mallister , lady of seagard .

jordan patrick smith as thorfinn karstark , lord of karhold . mark rowley as edric tully , lord of riverrun .

david corenswet as leo flint , lord of widow's watch .

ewan mitchell as sigfryd wynch , lord of iron holt .

joshua sasse as arthor celtigar , ruling lord of claw isle .

daisy head as helaena targaryen , lady of the tower of joy . *

𝐑𝐄𝐒𝐄𝐑𝐕𝐀𝐓𝐈𝐎𝐍𝐒 .

kiko mizuhara and the ruling lady of bear island .

natasha liu bordizzo .

madeleine madden .

#appless rp #game of thrones rp #hotd rp #asoiaf rp #got rp #plot heavy rp

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tuseriesdetv · 5 years ago

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Noticias de series de la semana: Anuncios de repartazos y series nuevas

Renovaciones

HBO ha renovado The Righteous Gemstones por una segunda temporada

OWN ha renovado Queen Sugar por una quinta temporada

Comedy Central ha renovado South Park por una vigesimocuarta, vigesimoquinta y vigesimosexta temporada

Noticias cortas

La serie de Awkwafina en Comedy Central se titulará Awkwafina Is Nora from Queens.

La comedia de Mindy Kaling para Netflix se titulará Never Have I Ever.

Incorporaciones y fichajes

Whoopi Goldberg (Sister Act, Ghost) y Alexander Skarsgård (Big Little Lies, True Blood) serán Mother Abigail y el malvado Randall Flagg en The Stand, la adaptación de la novela de Stephen King. Se unen también Jovan Adepo (When They See Us, The Leftovers), Owen Teague (It, Bloodline), Brad William Henke (Orange Is the New Black, Sneaky Pete) y Daniel Sunjata (Rescue Me, Graceland), que serán Larry Underwood, un joven músico; Harold Lauder, alguien que buscará supervivientes junto a Frannie (Odessa Young); Tom Cullen, un compañero de viaje de Nick (Henry Zaga) discapacitado tras un accidente cuando era niño: y Cobb, un militar que debe supervisar a Stu (James Marsden).

Liv Tyler (The Lord of the Rings, The Leftovers) protagonizará 9-1-1: Lone Star junto a Rob Lowe. Será Michelle Blake, jefa de paramédicos.

Amanda Peet (Brockmire, Studio 60) y Christian Slater (Mr. Robot, Heathers) protagonizarán la segunda temporada de la antología que comenzó con Dirty John. Esta vez en USA Network, nos traerán la historia de Betty Broderick, una mujer de California que en 1989 asesinó a su marido y a su amante. Escrita por Alexandra Cunningham (Dirty John, Desperate Housewives).

Jenna Coleman (Doctor Who, Victoria), Billy Howle (MotherFatherSon, Glue) y Ellie Bamber (Les Misérables, The Nutcracker and the Four Realms) protagonizarán The Serpent (BBC One) junto a Tahar Rahim. Serán Marie-Andrée Leclerc, cómplice de Sobhraj; y Herman y Angela Knippenberg.

Dermot Mulroney (Shameless, My Best Friend's Wedding), Anthony Welsh (Fleabag, Pure), Severine Howell-Meri, Cherelle Skeete (Ordinary Lies) y Gianna Kiehl se unen a la segunda temporada de Hanna.

Richard Dormer (Game of Thrones, Fortitude), Adam Hugill (1917), Jo Eaton-Kent (Don't Forget the Driver), Marama Corlette (Blood Drive), Lara Rossi (Crossing Lines) y Sam Adewunmi (The Last Tree) protagonizarán The Watch, adaptación de Discworld. Serán Sam Vimes, Constable Carrot, Constable Cheery, Corporal Angua, Lady Sybil Ramkin y Carcer Dun.

Richardo Chavira (Desperate Housewives) y Gabriel Chavarria (The Purge) serán el padre y el hermano de Selena en Selena: The Series.

Se le ha ofrecido a Hailee Steinfeld (Pitch Perfect, Ender's Game) protagonizar Hawkeye. Sería Kate Bishop, nueva Ojo de Halcón y miembro de los Young Avengers.

Melissa George (The Slap, The Good Wife) será recurrente en The Eddy, la serie de Damien Chazelle para Netflix, interpretando a Alison Jenkins, la sofisticada exmujer de Elliot (André Holland) y madre de Julie (Amandla Stenberg).

Jennifer Esposito (The Affair, Mistresses) será recurrente en Awkwafina Is Nora from Queens como una profesora de arte. Ming-Na Wen (Agents of S.H.I.E.L.D., Street Fighter) participará como invitada interpretando a la bohemia y espiritual tía de Nora.

Jason Ritter (Parenthood, Another Period) participará en varios episodios de la segunda temporada de A Million Little Things interpretando a alguien relacionado con Patricia (Melora Hardin).

Scoot McNairy (Halt and Catch Fire, True Detective), Zoe Chao (Strangers), Sasha Compere (Miracle Workers) y Peter Vack (The Bold Type, Mozart in the Jungle) se unen como regulares a la primera temporada de Love Life. Serán Bradley, dueño del museo para el que trabaja Darby (Anna Kendrick); Sara, mejor amiga de Darby; Mallory, compañera de habitación de Darby; y Jim, novio de Sara.

Hope Davis (Wayward Pines, American Crime) se une como regular a Your Honor. Será Gina, la esposa de Tommy (Michael Stuhlbarg). Lilli Kay (Chambers) será recurrente como Fia, la hija de Tommy y Gina.

Cicely Tyson (How to Get Away with Murder, The Help) será Miss Luma Lee Langston, una legendaria estrella del teatro y el cine, en Cherish the Day.

Ritu Arya (Humans, The Good Karma Hospital), Yusuf Gatewood (The Originals, Good Omens) y Marin Ireland (Sneaky Pete, Homeland) se unen a la segunda temporada de The Umbrella Academy. Serán Lila, un camaleón con un retorcido sentido del humor; Raymond, devoto marido y líder nato; y Sissy, una madre de Texas que se casó joven por las razones equivocadas.

Marsha Stephanie Blake (When They See Us) participará como invitada en la sexta y última temporada de How to Get Away with Murder. No se conocen detalles.

Rachel Naomi Wilson (Rise, The Good Wife) será Mia, amiga de Victor (Michael Cimino), en Love, Simon.

Craig T. Nelson (Parenthood, Coach) será recurrente en la tercera temporada de Young Sheldon como Dale Ballard, entrenador de béisbol.

Uzo Aduba (Orange Is the New Black), Glynn Turman (House of Lies, The Wire), Corey Hendrix (The Chi) y Matthew Elam se unen a la cuarta temporada de Fargo.

Joe Holt (Scandal, The Punisher) será recurrente en la tercera serie del universo The Walking Dead como Leo Bennett, un hombre de familia sólido y profesor respetado con un corazón generoso y un firme optimismo por el futuro.

Keesha Sharp (Lethal Weapon, American Crime Story) será recurrente en la sexta y última temporada de Empire como Paula Wick, una doctora compasiva y sensata.

Ashley Park (Tales of the City, Nightcap) protagonizará Emily in Paris junto a Lily Collins. Será Mindy Chen, una au pair que trata de convencer a Emily (Collins) de que París es genial.

Daniel Henney (Criminal Minds), Madeleine Madden (Picnic at Hanging Rock, Tidelands), Marcus Rutherford (Obey), Barney Harris (Clique, The Hollow Crown), Zoë Robins (Power Rangers Ninja Steel) y Josha Stradowski (Instinct, Spangas) serán al'Lan Mandragoran, Egwene Al'Vere, Perrin Aybara, Mat Cauthon, Nynaeve y Rand Al'Thor en The Wheel of Time.

Cassandra Jean Amell será recurrente en la segunda temporada de Roswell, New Mexico como Louise, una alienígena que busca refugio en 1947.

Tiffany Lonsdale (Ascension, Hail, Caesar!) se une como regular a la tercera temporada de Siren. Será Tia, una sirena extremadamente inteligente con un conocimiento muy evolucionado de la condición humana.

Abby Quinn (Black Mirror, After the Wedding) será Mabel, la hija de Paul (Paul Reiser) y Jamie (Helen Hunt) en Mad About You.

John Thomson (Cold Feet) y Bill Paterson (Fleabag, Outlander) se unen a la segunda temporada de Brassic.

Beau Garrett (Girlfriends' Guide to Divorce, The Good Doctor) será Cloud, la madre de Tully en los años 70, en Firefly Lane. Ali Skovbye (Breakthrough) y Roan Curtis (The Magicians) interpretarán a las versiones jóvenes de Tully (Katherine Heigl) y Kate (Sarah Chalke).

Mitch Silpa (Bridesmaids, Nobodies) y Lindsey Gort (The Carrie Diaries, Impastor) serán recurrentes en All Rise como Clayton Baker, ayudante del fiscal del distrito; y Amy Quinn, una abogada defensora privada.

Matt Murray (Eyewitness, 9JKL) será recurrente en la segunda temporada de In The Dark como Gene, un policía novato que es erróneamente relacionado con Murphy (Perry Mattfeld) y Jess (Brooke Markham).

Yasha Jackson (Ray Donovan) y Garrett Wareing (The Perfectionists) serán recurrentes en la segunda temporada de Manifest como Suzanne Martin, decana de la Universidad de Astoria y exnovia de Ben (Josh Dallas); y TJ Morrison, pasajero del vuelo 828 que está solo en el mundo.

Laura Bell Bundy (Anger Management, Hart of Dixie) será recurrente en Perfect Harmony como Kimmy, rival de Ginny (Anna Camp).

Bill Bellamy (Insecure) será Sweetness, un banquero que trata de hacerse amigo de Madam Walker (Octavia Spencer), en Madam CJ Walker.

Adam Pålsson (Bron/Broen) será el Young Wallander de Netflix. Le acompañarán Richard Dillane (The White Princess, Wolf Hall) y Leanne Best (Cold Feet, Carnival Row) interpretando al superintendente Hemberg y a Frida Rask.

El tenista John McEnroe narrará Never Have I Ever, la comedia de Mindy Kaling para Netflix.

Pósters

Nuevas series

HBO prepara un piloto del universo Game of Thrones que contará la historia de los Targaryen.

Emily Watson (Chernobyl, Apple Tree Yard) protagonizará el thriller Too Close en ITV. Será una psiquiatra a la que le asignan trabajar con una mujer acusada de un crimen atroz que dice no recordar nada de lo sucedido. Escrita por la actriz Clara Salaman y adaptada de su propia novela (2018), escrita bajo el seudónimo Natalie Daniels.

David E. Kelley (Big Little Lies, Mr. Mercedes) y Jack Bender (Lost, Mr. Mercedes) adaptarán para la televisión The Institute, la novela de Stephen King (2019) en la que Luke Ellis, un chico con telequinesis, es forzado por una organización secreta que practica pruebas a jóvenes con dones sobrenaturales.

BBC One encargó A Suitable Boy, adaptación de la novela de Vikram Seth (1993) en la que Lata (Tanya Maniktala) estudia en la universidad en tiempos de cambio en la India (1951) y descubre el amor y a sí misma mientras su madre le busca un marido. Al mismo tiempo, el rebelde Maan (Ishaan Khattar; Beyond the Clouds, Dhadak) quiere disfrutar de la vida sin importar las consecuencias, aunque le pese a su padre político, y tal vez enamorarse de una cortesana (Tabu; Life of Pi, The Namesake) no sea la mejor idea. Escrita por Andrew Davies (Bridget Jones's Diary, House of Cards) y producida por Mira Nair (The Namesake). Seis episodios.

BBC Three y HBO Max encargaron seis episodios de Starstruck, comedia creada y protagonizada por Rose Matafeo que se centrará en una veinteañera de Londres con dos trabajos sin futuro que lidiará con las complicaciones de dormir accidentalmente con una estrella de cine.

Netflix adquiere Ginny & Georgia, drama sobre una quinceañera (Antonia Gentry) que se siente a veces más madura que su madre treintañera (Brianne Howey, The Passage, The Exorcist). Viven junto a su hermano Austin (Diesel La Torraca) en un pueblo de Nueva Inglaterra, donde Georgia quiere asentarse y dar a sus hijos una vida normal mientras su pasado no la encuentre. Con Jennifer Robertson (Schitt's Creek), Felix Mallard (Happy Together) y Sara Waisglass (Degrassi: Next Class) interpretando a los vecinos y Scott Porter (Friday Night Lights, Scorpion) y Raymond Ablack (Narcos, Shadowhunters) al alcalde y al dueño de un restaurante. Creada por Sarah Lampert y escrita por Debra J. Fisher (Being Mary Jane, Criminal Minds). Diez episodios.

HBO ha encargado seis episodios de Betty, comedia inspirada en la película Skate Kitchen (2018) que se centra en un grupo de chicas de Nueva York que practican skateboarding. Rachelle Vinberg, Nina Moran, Kabrina Adams, Dede Lovelace y Ajani Russell repetirán papeles. Creada, escrita y producida por Crystal Moselle (Skate Kitchen) y Lesley Arfin (Love). Dirigida por Moselle.

BBC Two ha adquirido Vienna Blood, drama criminal ambientado en Viena a principios del siglo XX y basado en las novelas de Frank Tallis. En él, un joven y brillante doctor (Matthew Beard; The Imitation Game, An Education), que estudia bajo la atención de Sigmund Freud, conoce a un detective austriaco (Jürgen Maurer, Parfum) y ofrece sus habilidades forenses para investigar un caso. Les acompañan Conleth Hill (Game of Thrones, Dublin Murders), Charlene McKenna (Ripper Street, Raw), Amelia Bullmore (Gentleman Jack, Scott & Bailey), Jessica De Gouw (Arrow, Underground) y Louise Von Finckh (Gute Zeiten, schlechte Zeiten). Escrita por Steve Thompson (Sherlock). Tres episodios.

BBC One encarga Rogue Heroes, drama adaptación del libro de Ben Macintyre (2016) sobre la creación del Special Air Service, una nueva forma de combate en los desiertos del norte de África durante la Segunda Guerra Mundial. Creada por Steven Knight (Peaky Blinders). Seis episodios.

Channel 4 ha encargado seis episodios de Generation Z, comedia negra en la que un camión militar se estrella contra una residencia y una sustancia tóxica convierte a los ancianos en zombies a los que un grupo de adolescentes normales y corrientes deberá combatir. Creada por Ben Wheatley (The Wrong Door).

Netflix encarga Sex/Life, dramedia que explora qué ocurre cuando la vida y la libido colisionan. Escrita por Stacy Rukeyser (UnREAL, One Tree Hill) y basada en el libro '44 Chapters About 4 Men', de BB Easton (2016), se centra en un triángulo amoroso entre una mujer, su marido y su pasado, que le da un nuevo y excitante punto de vista al deseo y a la identidad femenina. Ocho episodios.

BBC Two encarga seis episodios de una comedia creada y protagonizada por la comediante Sara Pascoe, que no sabe por qué todo el mundo se empareja y tiene hijos y por eso comienza una misión para entenderlos. Ella trata de demostrar que el amor romántico no es más que química y condicionantes y no se merece nuestro respeto, y esto entra en conflicto con los preparativos de la boda de su hermana y con el embarazo de su mejor amiga.

Sky Atlantic encarga I Hate Suzie, drama en el que el teléfono de Suzie Pickles (Billie Piper; Secret Diary of a Call Girl, Penny Dreadful), una estrella en decadencia, es hackeado y todo el mundo ve una foto suya en una posición comprometedora y ahora sabe cómo es en realidad. Cada uno de los ocho episodios tratará una etapa -shock, negación, miedo, vergüenza, negociación, culpa, ira y aceptación- mientras su mánager y amiga Naomi trata de mantener en pie su vida, su carrera y su matrimonio. Creada por Piper y Lucy Prebble (Secret Diary of a Call Girl, Succession).

BBC One encarga cuatro episodios de Roadkill, thriller político en el que un carismático ministro conservador (Hugh Laurie; House M.D., The Night Manager) trata de conseguir sus propios objetivos caminando sin vergüenza o arrepentimiento entre la gloria y la catástrofe mientras sus enemigos hacen que su vida pública y privada se desmorone. Escrita por David Hare (The Hours, Collateral).

BBC One encarga When It Happens To You, drama sobre el aborto en Irlanda del Norte y la experiencia de las familias y sus seres queridos. Escrita por Gwyneth Hughes (Vanity Fair, Dark Angel).

Fechas

The Feed se estrena en Virgin el 16 de septiembre

First Wives Club llega a BET+ el 19 de septiembre

La novena temporada de Doc Martin se estrena en ITV el 25 de septiembre

Frayed se estrena en Sky One el 26 de septiembre

The Oval se estrena en BET el 9 de octubre

Sistas se estrena en BET el 9 de octubre

La segunda temporada de Baby llega a Netflix el 18 de octubre

Daybreak llega a Netflix el 24 de octubre

See se estrena en Apple TV+ el 1 de noviembre

His Dark Materials se estrena en BBC One el 3 de noviembre

La segunda temporada de Britannia llega a Sky Atlantic el 7 de noviembre