#against my modern feminist takes

[ominouspositivity-or-else]

shout out to that dream i had where Matt Fradd called me "The death of catholic art" i think it's a proud moment for me

[odyssiaca]

odysseus is generally seen as 'morally ambiguous' due to his not always being seen as the best of people- but this is a very modern and feminist take, and whilst nothing is inherently wrong with the idea of feminist takes and retellings, it skews what we have and already know of the myths, and this can be seen most predominantly in the character of odysseus. odysseus is two things:

- not meant to a hero

- not meant to be good

he is written as a man faced with impossible odds, and who loses some- if not all- of his morality in doing so. BUT where does the idea of him being 'bad' come from? the penelopiad by margaret atwood, a woman known for being quite vitriolic towards men of any kind. in recent years, people have picked up on three major things from the odyssey:

- the hanging of the maids

- odysseus cheating on his wife

- odysseus going mad at the end

NOW, to break it into points:

the hanging of the maids is so often seen in a feminist light due to margaret atwood, where odysseus is painted as some cruel, vile, disgusting predator who loathes women. this isn't true to the odyssey AT ALL. in the odyssey it is explicitly stated by the nurse that raised telemachus: 'i shall single out those who betrayed you, my lord' and by one of the maids herself- melantho: 'if we sleep with the suitors, when they become king we will be in favour with him.' and THIS is why he killed the maids. not because he was insane, not because he was bad, but because they had betrayed not just him- but his wife. not all the maids were killed, only those who slept with the suitors. the argument most often used for this is that the women couldn't say no, but this goes against what the maids themselves say in the odyssey when they believe no one to be watching.

odysseus cheating on his wife HE DIDN'T. but he is a man, and as a man, he cannot be raped. he is a terrible man for sleeping with circe and calypso when he could have- as epic decides to say- say no. which is untrue!! these are goddesses. titanesses. circe is the daughter of helios, and calypso is daughter of atlas. they could overpower him simply by looking at him. circe turned his men to pigs, even with the moly she could have easily done the same- or worse- to him. the idea of him choosing to and being unfaithful stems from madeline miller's, Circe which whilst not inherently bad, goes out of its way to put all men in a terrible light, because the heroes deserves no rights in feminist retellings. odysseus wanted to say no, but could not as hermes explicitly told him he couldn't. on the flip side, calypso threatens, ensnares him and only releases him when told to by hermes and the council of the gods. in the odyssey it is literally stated: 'and odysseus stayed on the shores weeping for home before joining the nymph in her bed.' he did not WANT to sleep with calypso, but was left with no other choice but to do so. this is a recurring theme for calypso.

but he is blamed due to his gender, and the idea of 'feminism' and 'patriarchy'.

and now, the real reason for odysseus being seen badly:

the telegony the telegony is a myth written after the odyssey with telegonus- son of circe and odysseus- as the main character. in this he travels to find his father and meet him, but accidentally kills him on the shore. (peneleope marries telegonus, and circe marries telemachus) but this is where the idea of odysseus' insanity comes from. in the telegony, it is stated he went mad after the war, and couldn't survive without bloodshed, and so he went out seeking war, and women, and battle, and went mad in this.

the statement: 'generous to odysseus' is wholly unfair, because he is a man forced to lose everything, assaulted, violated, tortured and imprisoned with no hope of survival. he goes to war knowing he won't return for 20 years, won't see his wife, and won't watch his son grow. he is a man not a god, or a demigod. he's just some dude doing his best.

[dulcewrites]

ewan in the saltburn trailer is j sooo giving private school filthy rich aemond i love it

AND YES HE NEEDS HIS POC GF

I have been feeling…. less than inspired lately about hotd tbh but hopefully this will spark something. I know no one asked for this lol. This was inspired by Beyoncé’s Upgrade U. Honestly, I don't think Aemond would be much of a loser in a modern setting. He would be far too elusive and people would find him interesting simply based on that. But I am combining/changing some lore here so he is a #loser in this like I am assuming Ewan's character is Saltburn is.

Upgrade You

Pairing: Aemond Targaryen x rich!reader (wc: 2k)

Summary: You have always enjoyed having a project to build or fix up and Aemond Targaryen is no different

You flick a spoolie brush over your brows as you finished up your makeup. The lights from your vanity mirror illuminating you as you put the last touches on your face.

"I don't get it," Melanie sighed as she hugged one of your pillows to her chest. She sat crossed legged on your California king bed. "You're like the smartest person I know. Why do you need to be tutored?"

"Everyone can improve themselves, no matter what someone's specialty may be. Remember that."

Melanie nodded enthusiastically. Sweet girl, you think. A little daft at times but nothing some time under your guidance cannot fix.

She tilts her head curiously. "You are pretty dressed up for a library meeting too."

"Another lesson," you fluff your curls then turn from the mirror to her. "Do not let anyone tell you that you are overdressed. Does the library have a dress code?"

Melanie shakes her head slowly.

"So, who is going to tell me to change?"

"... No one?"

"Exactly."

Melanie chews on her lip in thought as if she is taking mental notes in her head. Though she is not wrong you are quite dressed up just to be studying. But your advice was also not wrong; any moment to be noticed should be taken and made the most of. If are to come into contact with any of your peers, why not make the best impression possible. You also do not have in it in you to tell your new pupil about the real reason as to why you were making this little trip. Best move through life with your cards close to your chest as your mother tells you. You can only imagine how wide Melanie's hazel eyes would get if you told her what you had up your sleeve.

Much like how you help the girls around you cultivate their futures, you must look out for your own as well. Your phone dings, and you smile when you check the notification.

Aemond Targaryen.

Archaic, some would say. Sending the feminist movement back 50 years, many could argue. Being realistic is more how you would put it. You have money, sure. Your parents have afforded you all the opportunities they wanted you to have, and for that you are grateful. But you are not naive; this is still very much a man's world. No matter how much money you have, there will be people who will look at you and hate you for having the gall to want more. For having ideas and wanting to express them. For looking the way, you do - for using the way you look against them.

You may not be able to have a seat at the table... but you can have someone build another for you.

Your family may have resources and money. But they do not have 'my father can use company family buy his way into politics; my mom has ancestry that traces back to French royalty' reach.

Luckily for you, there is someone who does have that access.

A little rough around the edges, but nothing some TLC cannot fix. It was one of your best traits: finding the diamonds in the rough and polishing them off so they shine brighter than before.

You go over to your closet and open the double doors. As your eyes search over the different handbags, you call out back to Melanie.

"Watercolor Dior saddle or creme Bottega Jodie?"

"Dior," she calls back.

You check yourself in the mirror before existing the closet.

"Well," you twirl for Melanie. You run hand over your midi turtleneck dress. You knee length boots clanked around as you moved in a circle.

"Perfect," she beams.

She sees you out to your car. With the window rolled down, she waves you off like a mother seeing their child off for kindergarten.

"Happy studying!"

Sweet and simple, just how you like em.

———

You always thought the best thing about Oxford was how it looked in the fall. The leaves begun to change, sprite green to a blend of red, orange, purple, and brown. Made the most picturesque background. But it seemed like how gently the leaves fell from the trees was the only thing that was coming easily.

Maybe it was naivety on your part, but you thought when you showed up in four-inch patent leather Aquazzura heels and literally no books, Aemond would have got the hint. And yet, here you were talking about the components of stockholder’s equity, as if you cared.

"So," you interrupt him mid rant. "Any fun plans for Winter break? I know it is a while away, but everyone is already taking about what they are doing."

He wrinkles his nose, his glasses being pushes up in the process. "Probably just dinner with the family."

Right. The compound. At least that is what the Targaryen main home looks like. You of course needed to your research.

"Well, there is this crazy Christmas that happens before everyone leaves," you shuffle closer to him, and you hope he gets a whiff of your perfume. "Maybe we can go together?"

Aemond snorts and looks down bit sheepishly. "Highly doubt, I am invited."

You fight the urge to sigh wistfully. Cute, smart, wealthy as fuck... and apparently awfully insecure. Everyone throwing the party should be falling at their knees to have him around. But you have since understood during your time at Oxford that many students here do not understand the opportunities in front of them.

If Aemond had any real confidence, he'd say fuck it because he could buy everyone going if he wanted to. They ignore him because he allows them to. And then you realize he is one of those people; the delusional 'I want to get by on my merit not my name' kind of people.

Oh sweet, silly boy.

"That doesn't matter," you wave him off. "Besides, if anyone says anything, you can just say you're with me. Consider it a thank you for doing this for me."

You let your hand slip on his thigh and squeeze slightly.

"Better yet, let's call it a date."

Rhaenyra would think for the amount of money her family has; they would be able to afford stronger liquor. But she has a feeling that it has nothing to do with money, and more about the 'champagne only' rule Alicent liked.

The expansive backyard was decorated impeccably, as it always is for the annual holiday party that they throw. Twinkly lights in the trees, red and green everywhere, and even a frankly nouveau riche ice sculpture. The affair was black tie, and Rhaenyra could feel the eyes of some guess when she showed up in a red fitted suit. Taking small sips from her glass, she looks around the area. She swears the more years go on, the less she recognizes who is invited to things like this.

"Don't tell me step-mommy has put you in timeout."

She rolls her eyes when she hears a familiar voice. Daemon comes to stand next to her, with a small glass in his hand.

"No, you fucker," Rhaenyra then frowns. "Where did you get the scotch?"

"Why do you think I am in timeout?"

Her uncle always found a way around the rules. Rhaenyra blows air out of her cheeks in annoyance. She looks down at her watch; another rule is that they were required to stay at 2 hours. Only 45 minutes has passed since she arrived.

"Heard you are going to the company retreat this year," Daemon downs the rest of the drink and winces at the burning.

"Someone has to represent the family with dad," she shrugs, a small amount of smugness seeping into her tone. "He asked me to go."

"Hmmm," Daemon smirks at her smugness. "You and Aemond."

Rhaenyra blinks confused. "What?"

"Yup," he leans against the wall. "I suppose Viserys found a new muse."

Rhaenyra snorts at his words but then licks her lips nervously. It sounds cruel to think, but it was never something she ever really worried about - her father preferring her siblings over her. At least not something she worried about in her adulthood. Sure, as a girl, newly off the passing of her mother, seeing her father marry a woman only six years her senior rattled her. Aegon being born shortly after only made things more tense. But, and to his own detriment really, Viserys had made sure she came first.

"I did not know Aemond had an interest in the company in the first place."

"He didn't," Daemon's mouth pinches a little. "Not until... recently."

Rhaenyra follows her uncle's gaze out to where Aemond was standing. He always managed to look more grow up than his sibling, more than Helaena and Aegon. A mimicry that Rhaenyra thinks he picked up from his mother, but something seemed different now.

New haircut, no glasses, new suit. Armani? No, Tom Ford. With a Cartier tie clip and sparking cuff links to match. He is surrounded by some of the lawyers that work at the company.

"Looks like university has done him well," Rhaenyra tries to sound as even keeled as possible. "Good for him."

"No," Daemon sounds bored with her strained pleasantries. "That is what pussy does someone who has never got any before."

Rhaenyra blanches. The last thing she wants to think about is her younger brother having sex. She sets her champagne down in disgust.

"Don't be gross."

Daemon huffs before directing his attention towards the other side of the courtyard. His eyes zero in on Alicent, who tosses her auburn hair over her shoulder as she laughs with a young woman. A pretty young woman.

"Only met this semester and managed to get a holiday party invite, and a seat next to mother dearest. She must some charmer."

"You know," Rhaenyra starts. "Not every woman that is around this family is some sort of ruthless social climber."

"Of course, not every woman. Only the smart ones."

She sighs. That was not just pointed at the girl, but at Alicent too. Even though Alicent grew up with an even cushier life than they did. A type of old money that even the Targaryens had to give credence to. Strangely enough, Daemon seemed to take Viserys remarrying worse than Rhaenyra did. Even Rhaenyra over the years has grown to accept the fate that is their blended family. Accepted it enough to be cordial, albeit sometimes still awkward, with Alicent. They have forever been bonded in having to deal with the moods that come with Viserys Targaryen. But Daemon... it seems like he has never forgiven his brother for the act of moving on. He seemed to only grow more jaded since the divorce from Laena.

"How do you even know this?"

"Aemond told Aegon who told Helaena who told Rhaena who told Baela who told me."

Rhaenyra breaks her gaze from the two women. "Keeping tabs on your nephew that you barely speak to?"

Daemon gave her an empty smile. Almost a little cruel like he would crush her like a bug if it would not so pitiful. "You naive little thing. When you figure things out, let me know."

Rhaenyra wants to ask him what he means by that, but Daemon pushes himself off the wall he was leaning against to leave Rhaenyra alone.

Alone was a feeling she was used to. Rhaenyra often found solace in the loneliness that she found herself stuck in. If she did not find comfort in it, it would swallow her whole. Jaw unhinged and bloodthirsty.

Her eyes went back to the where Alicent and the girl were sitting, but Helaena seemed to replace the girl's place to speak with her mother. Instead of getting chummy with Alicent, the mystery woman had gone over to Aemond. Rhaenyra felt a little queasy watching them. Like watching two little dolls or those silly little cake toppers people get. Picture perfect like the stock photos that came in picture frames.

She shook her head at herself with an internal laugh. Here she was picking apart her baby brother's seemingly first real relationship; she was no better than Daemon if she did that. It was she told herself when she watched one of the wives of the company's lawyers come up to the girl and give her kiss on the cheek. Like they were old family friends.

Rhaenyra suddenly finds herself straightening out her jacket and her heels moving across the outdoor area. Might as well introduce herself... as a kind sister figure, of course.

She has a funny feeling she will be seeing this girl around more often.

[takemeinyrarmy]

BoyBoy book club⭑.ᐟ

These books have either been mentioned or recommended by the boys, list made to the best of my memory, some notes added for context + little abstract. [(A.) = Aleksa's rec; (L.) = Lucas' rec; (Al.) = Alex's rec] Reply or reblog to add more to update the list thanks! 

⊹ Caliban and the Witch: Women, the Body and Primitive Accumulation - Silvia Federici  (A.) [Aleksa's commentary: Also 'Caliban and the Witch' by Silvia Federicci is brilliant. It's a great marxist-feminist retelling of the European witch-hunts, it's really really cool. It completely flipped my view of the birth of capitalism... She posits that capitalism is a reaction to a potential peasant revolution in Europe that never succeeded, and situates the witch-hunt as a tool of the capitalist class to break peasant social-ties and discipline women into their new role as reproducers of workers.] || Is a history of the body in the transition to capitalism. Moving from the peasant revolts of the late Middle Ages to the witch-hunts and the rise of mechanical philosophy, Federici investigates the capitalist rationalization of social reproduction. She shows how the battle against the rebel body and the conflict between body and mind are essential conditions for the development of labor power and self-ownership, two central principles of modern social organization.

⊹ The Age of Surveillance Capitalism - Shoshana Zuboff  (A.) || This book looks at the development of digital companies like Google and Amazon, and suggests that their business models represent a new form of capitalist accumulation that she calls "surveillance capitalism". While industrial capitalism exploited and controlled nature with devastating consequences, surveillance capitalism exploits and controls human nature with a totalitarian order as the endpoint of the development.

⊹ Anti-Oedipus: Capitalism and Schizophrenia -  Gilles Deleuze and Félix Guattari (L.) || In this book , Gilles Deleuze and Félix Guattari set forth the following theory: Western society's innate herd instinct has allowed the government, the media, and even the principles of economics to take advantage of each person's unwillingness to be cut off from the group. What's more, those who suffer from mental disorders may not be insane, but could be individuals in the purest sense, because they are by nature isolated from society.

⊹ Open Veins of Latin America - Eduardo Galeano (A.) (Intro to LATAM history, infuriating but good.) (Personal recommendation if you know nothing about LATAM.) || An analysis of the impact that European settlement, imperialism, and slavery have had in Latin America. In the book, Galeano analyzes the history of the Americas as a whole, from the time period of the European settlement of the New World to contemporary Latin America, describing the effects of European and later United States economic exploitation and political dominance over the region. Throughout the book, Galeano analyses notions of colonialism, imperialism, and the dependency theory.

⊹ The Origin of Capitalism - Ellen Wood (A.) || Book on history and political economy, specifically the history of capitalism, written from the perspective of political Marxism.

⊹ If We Burn - Vincent Bevins (L.) || The book concerns the wave of mass protests during the 2010s and examines the question of how the organization and tactics of such protests resulted in a "missing revolution," given that most of these movements appear to have failed in their goals, and even led to a "record of failures, setbacks, and cataclysms".

⊹ The Jakarta Method - Vincent Bevins (A.) [Aleksa’s recommendation for leftists friends] || It concerns U.S. government support for and complicity in anti-communist mass killings around the world and their aggregate consequences from the Cold War until the present era. The title is a reference to Indonesian mass killings of 1965–66, during which an estimated one million people were killed in an effort to destroy the political left and movements for government reform in the country.

⊹ The Anarchy: The Relentless Rise of the East India Company - William Dalrymple (L.) [Not read by the boys yet, but wanted to read.] || History book that recounts the rise of the East India Company in the second half of the 18th century, against the backdrop of a crumbling Mughal Empire and the rise of regional powers.

⊹ The Triumph of Evil: The Reality of the USA's Cold War Victory - Austin Murphy (A.) || Contrary to the USA false propaganda, this book documents the fact that the USA triumph in the Cold War has increased economic suffering and wars, which are shown to be endemic to the New World Order under USA capitalist domination.

⊹ Technofeudalism: What Killed Capitalism - Yanis Varoufakis (L.) || Big tech has replaced capitalism’s twin pillars—markets and profit—with its platforms and rents. With every click and scroll, we labor like serfs to increase its power.  Welcome to technofeudalism . . .

⊹ The History of the Russian Revolution - Leon Trotsky (A.) [Aleksa's commentary: This might be misconstrued since I'm not a massive fan of Trotsky... but... his book "History of the russian revolution" is amazing. It's so unique to have such a detailed history book compiled by someone who was an active participant in the events, and he's surprisingly hilarious. Makes some great jokes in there and really captures the revolutionary spirit of the time.] || The History of the Russian Revolution offers an unparalleled account of one of the most pivotal and hotly debated events in world history. This book presents, from the perspective of one of its central actors, the profound liberating character of the early Russian Revolution.

⊹ Rise of The Red Engineers - Joel Andreas (A.) [Aleksa's commentary: It's a sick history book, focusing on a single university in China following it's history from imperial china, through the revolution and to the modern day. It documents sincere efforts to revolutionize the education system, but does it from a very detailed, on-the-ground view of how these cataclysmic changes effect individual students and teachers at this institution.] || In a fascinating account, author Joel Andreas chronicles how two mutually hostile groups—the poorly educated peasant revolutionaries who seized power in 1949 and China's old educated elite—coalesced to form a new dominant class.

⊹ Adults in the Room: My Battle with the European and American Deep Establishment - Yanis Varoufakis (A.) [Aleksa's commentary: The book I mentioned earlier - "adults in the room" - is amazing. There's a great description of Greece's role in the European economy [as an archetype for other, small European countries] and the Union's successful attempts to discipline smaller countries to keep their monetary policy in line with the interest of central European bankers. I'd definitely reccommend it!] || What happens when you take on the establishment? In Adults in the Room, the renowned economist and former finance minister of Greece Yanis Varoufakis gives the full, blistering account of his momentous clash with the mightiest economic and political forces on earth.

Edit: Links added when possible! If they stop working let me know or if you have a link for the ones missing.

[sapphire-writes]

an ego thing ~ modern!Aemond x Reader

next part // series masterlist request: Academic rivals to lovers during a VERY heated argument please??? 🥺 note: happy valentines my loves I hope you enjoy!! 💚 warnings: language word count: 1.2k read more of my work here!

“So what do we think?” your professor asks, leaning against their desk, “was the war justified? What are our thoughts?”

The room is silent. Your 8:00 AM history seminar is usually quiet aside from the droning of your professor and the snores of a student slumped against their desk in the back. 

Two hands shoot into the air, desperate to be chosen first.

You strain your hand towards the ceiling, fingers wiggling. You can feel your toes pushing into the floor as if you can push yourself higher into the air. At least higher than him.

Aemond Targaryen leans his back against his chair with ease, long arm stretched toward the sky. His expression is nonchalant, but mismatched eyes are alert. The sharp features of his face seem tense, as he waits in anticipation. He’s annoyingly handsome, you can’t deny, but being your arch-nemesis nearly erases the fact. 

The gods are on your side today, as your professor meets your gaze and sends you a nod. You grin triumphantly, mouth twisted in a smile.

“The black queen was named heir,” you begin, after taking a deep breath, “the king wanted his daughter to be queen. I think that should have been respected, especially by the greens. Far less bloodshed would have happened if she ascended to the throne.”

Your professor nods at your answer and you feel a rush go through you at his approval. Nothing feels as good as a teacher’s praise. Something you learned early on in your education and carried with you even now. 

Aemond snorts beside you, earning a glare from you. That’s another annoying thing about Aemond; no matter what the class is, if you’re in it he is planting his desk right beside yours. An obnoxious shadow he makes. 

“You disagree, Mr. Targaryen?” your professor asks, crossing their arms. 

“Of course I do,” Aemond says, side-eyeing you. Your nose scrunches in displeasure.

It truly did not matter which side you took, Aemond would take the opposite. Both of you are vigorous students, and someone always annoyingly in the same classes. He seems to follow you through all your general education classes each semester. You argue like dogs fighting over a bone in your searches for academic validation.

“Go on,” your professor encourages him, as your fingers curl into your palms.

“It wouldn’t have mattered,” Aemond argues, “the realm would never have accepted her as a queen with her father’s firstborn son living.”

“That’s very feminist of you,” you snap, unable to help yourself. 

Aemond turns toward you on his desk. He always looks so odd sitting in the rolling chair, his long limbs overflowing. He raises an eyebrow at you, jaw clenching.

“I’m being historically accurate,” Aemond argues, tapping his long fingers on the desk.

“Whatever helps you sleep at night,” you tell him, leaning back and crossing your arms over your chest. 

You can feel your cheeks heating up as Aemond stares at you, his lips curling into a snarl.

“If she ascended the throne, there would have been an uprising sooner or later,” Aemond continues and you roll your eyes. 

“Her sons were bastards, a threat to the very institution of the kingdom if her son ascended after her-”

“Oh come on!” you say, tilting your head to look at the ceiling, “her sons were legitimized, they were claimed by her husband as his trueborn sons, her trueborn heirs-”

“The text is very clear about it being known amongst the common people-”

“Text was written by men to keep other men in power in a patriarchal system-”

“Here we go.”

Your head snaps forward. 

“What?” you quip, fury written across your face. You notice your voice has been increasing in volume but you don’t care. Aemond Targaryen makes your blood boil. 

He smirks at you, clearly giddy at the rise he’s getting out of you. Well, as giddy as Aemond Targaryen can get. He’s not really a giddy kind of person, with his all-black outfits that match the stupid all-black coffee he brings every class.

“You’re bringing it back to gender when it's not about that,” Aemond says shaking his head, “if her sons inherited the throne after her, the entire realm would have crumbled.”

“You are so dramatic,” you accuse, “and it absolutely is about gender. She was her father’s chosen heir.”

“Well she shouldn’t have sired bastards,” Aemond argues shaking his head.

“Sired?” you mock narrowing your eyes, “what’re we in the medieval ages?”

“We’re talking about it genius,” Aemond says. 

“Okay everyone!” your professor says clapping his hands together, “ceasefire you two.” 

Your professor chuckles, trying to ease the tension you’ve created in the classroom to no avail. Aemond and you are leaning toward each other as if at any moment one of you will jump from your seat attacking the other. 

Aemond leans back first, hand clenching around his coffee cup and bringing it to his lips. The prominent veins of the back of his hand bulge with how tightly he holds the cup. You slouch back in your seat. 

“Let’s explore a different role,” your professor suggests, “what would have been in the best interest of the common folk?”

Aemond’s hand shoots into the air. Your professor points at him.

“The king’s daughter was never present at court, she had no idea what the people needed, she spent barely any time present at council-”

You let out a dramatic sigh at his response. 

“She was pushed out, by the king’s new wife I might add who was aiding her father, the hand of the king, in the plans to usurp the throne,” you challenge as Aemond shakes his head. 

“There is no record of the queen having any knowledge of those plans-”

“Read between the lines,” you say, cutting him off.

“Isn’t that what you should be doing?” Aemond says crossing his arms, “preferably in another class more related to your major.”

Your cheeks flush. 

“I take lit classes too,” you snarl, “this is a gen ed class.”

“Literature major,” he snorts, “of course.”

“What the hell does that mean?” 

“That major is a waste of time,” he says smugly. 

“Says the philosophy major,” you snap back. 

Aemond leans forward, ready to snap when your professor claps his hands together. 

“Okay!” he says, voice hoarse, “I think that’s enough discussion for today. I want three pages submitted tonight about who you think should have inherited the throne. Two sources minimum, people!” 

The noise level in the class rises as students shove their papers and books into their bags, rising from their desks eager to leave the lecture. 

You tuck your books into your bags, heart pounding from the intense conversation. Aemond has already risen from his seat, tossing his coffee cup into the recycling bin before exiting the classroom. You scurry after him, not ready to give up the fight. 

You nearly run into him as you exit the classroom, he’s stopped outside the doorway, tucking a book into his backpack. 

“Asshole,” you mutter, watching his shoulders tense. 

“Know it all,” he snarls. 

“For fuck’s sake!” a voice calls behind you. 

Aemond and you turn, meeting the face of your previously sleeping classmate Luke Velaryon. His hair is ruffled, and he rubs the sleep from his eyes with an exasperated look on his face. He eyes you and Aemond.

“Will you two just bang already?”

Your mouth falls open, eyes wide as saucers. Aemond stands eerily still beside you. Luke raises his eyebrows, as your cheeks begin to burn. You meet Aemond’s eyes, blue and violet, for a brief moment, before you both look away. Aemond clears his throat, and you swallow hard. 

“As if,” you say, forcing a laugh, before pushing by Aemond.

“Yeah,” Aemond agrees, watching you leave, “in your dreams.”

note: do we want a part 2? 👀

EDIT: I wrote part 2 😏

[mimicofmodes]

I saw a post going around about costube historians analyzing period film costumes for accuracy and it kind of got under my skin, so I'm sitting down and writing ... not exactly a response to it, but a discussion of the topic.

(It would be a direct response except that I don't actually watch costube, because quite frankly I can't watch/listen to people discuss things I already know. And I don't want to be like "they don't do X!" when maybe they really do X and I'm just not aware. But a lot of the complaints hit the same points that have been brought up against fashion historians for reviewing costumes for decades. I would also note that I have looked into specific videos where there were claims of terrible costuber behavior and watched them and found nothing.)

If you're going to analyze a period film's costuming in any way, you should still interact with the historical aspect to some degree. If you want to talk about the use of bold stripes in Tim Burton's Sleepy Hollow, for instance, and you don't mention that they were in style during the period the film appears to be set in, it's kind of weird.

Likewise, yes, if you're critiquing primarily from the angle of historical accuracy, you should also engage to at least some extent with the reasoning behind the inaccuracy. If a reviewer doesn't do so at all, then yes, their review is probably not as good as it could be.

People pointing out an inaccuracy (or many inaccuracies) are not inherently scolding the costume designer. Even if their tone is something other than sweet. Sometimes they are scolding other people involved in the production, like the director who mandated a particular costume, or just a general notion of TPTB. Usually they are divorcing the art from the artist, though, and just reviewing the costuming from their particular viewpoint and knowledge base for a likeminded audience.

Sometimes, yes, they are complaining directly about the costume designer. This is not a crime. Some costume designers (for instance, Sandy Powell) have an incredible grasp on fashion history and excellent taste when it comes to diverging from it. Others simply don't have as in-depth of an understanding and make design decisions sometimes based on stereotypes and myths. Some costume designers will explain their decisions in interviews or blog posts and make it clear that they didn't make a truly informed decision about accuracy because they didn't know enough about the period. It's important for both sides of the equation to stop painting the other with too broad of a brush ("ivory-tower elitists who have no idea of a production's needs or budget" vs. "costumers who know how to sew but not how to do historical research").

If you're allowed to complain about a writer or a director or an actor doing something you don't like in a movie, you're also allowed to complain about a costume designer. You're allowed to have aesthetic preferences, and even to talk about them without hedging every five seconds to make it clear that others can disagree, although some of this is beneficial with any critique. Why would it be otherwise?

This seems really obvious to me, but maybe it's not? But "they costumed that female actor in an anachronistically sexy way because sex sells" is a feminist issue. The assumption that women's bodies should be sites of less-clothed allure while men's should attract by being more covered (with more layers than in modern dress, with cravats, etc.) is sexist. Complaints about female characters being costumed inaccurately are often being made along these lines, and pointing out that the producers insisted on it or something does not mean it's suddenly unproblematic that every female character deemed fuckable has to have low necklines at all times and modern shiny hair.

It's true that fiction isn't non-fiction and shouldn't be taken that way, but it's also demonstrably true that viewers do take cliches in film aesthetics as accurate when they see them enough times. People cite Scarlett O'Hara's 18" waist. They believe there were no bright colors before the 1920s and that women couldn't have put their hair up unless they were wealthy. These beliefs have consequences when it comes to public perceptions of history, and if films perpetuate them it's perfectly reasonable to point out that they support ideas about e.g. gender roles that trads express today.

It's also simply funny when a film's hair or costuming or makeup is supposed to evoke a lack of artifice but actually requires quite a bit of artifice because people don't naturally have perfect hair and skin and so on.

If you don't like reviews of period films that focus on the accuracy of the costuming, maybe ... don't watch/read reviews by fashion historians and historical costumers? At least unless they're vetted for you by someone who doesn't mind that?

[rosietrace]

This is a personal rant about my thoughts on Greek mythology retellings, and just the way Fantasy books and the publishing industry is at this point 🧍‍♀️

I have nothing against Greek mythology retellings, or just anything Greek mythology related in fantasy in general!

However, I have certain gripes about the way Greek mythology is portrayed in media, specifically in the way its interpreted in Fantasy.

[ More under the cut! ]

I love Percy Jackson, and I think that Uncle Rick did a wonderful job at expanding the world and making Greek, Roman, Egyptian, and Norse mythology entertaining and easily digestible for young audiences. Genuinely, he does a better job at writing children's books than R*wling could ever be capable of.

However, as much as I can love PJO as much as I do, I still find certain bits of the world building and character writing as... Very hit and miss.

To start, I don't like the way Ares was written in the series. I can understand that it would make sense for his personality to be that way, because he's the God of War and it helps with Clarisse's character development; but I find fault in it because Ares in the myths is nothing like PJO Ares. (He literally killed one of Poseidon's sons because he raped his daughter, Alcippe, and he's one of the only gods who doesn't hump anything that can breathe in air. At least Ares has the courtesy of asking for consent 💀)

The Gods being the reason behind WWII and Hitler being a child of Hades. All I must say.

The portrayal of the Aphrodite cabin

The fact that Athena can have children. Annabeth, pjo fandom at large, I love you are, but you gotta admit it must've felt weird when you first read the books and you find out Athena — the maiden Goddess of Wisdom — can have offspring. Regardless of the reasoning, I still find it weird 😭 (EDIT: I've now just remembered that it was a reference to how Athena herself was created 🤡 I'm a clown)

I get that the Hermes cabin is also the cabin for the unclaimed, but couldn't have Hestia's cabin worked too? She doesn't have offspring, sure, but it probably would've made more sense for the unclaimed to go to Hestia's cabin so that the Hermes cabin wouldn't be so crowded

This isn't really a world building issue, but I think I should bring it up: I'm not saying this against the Kane Chronicles fandom, but... Sadie and Anubis. Why. Like you can't convince me that no one WASN'T weirded out by that.

Less of a complaint and more of a question because I can't remember if the question was answered in HoO or not, but when Percy told the Gods to start claiming their unclaimed children and be more decent parents (as he should, go off king), did that request apply to the Romans at Camp Jupiter too? Because that's gotta have been confusing when the unclaimed kids at CP suddenly started getting claimed 😭😭

I could go on a whole ass tangent about PJO, but that would make this post longer than it needs to be 😭😭 and any of the points might not make much sense, since I haven't read the books in a LONG time

Off to the YA Fantasy segment... Hoo boy.

The oversaturation of Hades/Persephone retellings makes me SEETHE. Why is it always Hades and Persephone why can't it be something else 😭

I just don't like the “modern feminist” retellings of Greek myths in the YA Fantasy genre, in general. They tend to completely miss the point of the original myth, and it's the case with a lot of Hades and Persephone retellings where they try to paint Hades as the good guy taking Persephone away from her control freak mother, Demeter.

Because that wasn't what the myth was about. The myth isn't a love story, at least, not a romantic one. It was about Demeter's love for Persephone and how much she wanted her daughter back after Hades stole her away. Keep in mind, in the historical context of the myth, the daughters of women in ancient Greece never really get to see their mothers after their engagements are solidified.

If they wanted to make a “feminist” retelling of the myth, they'd have it centered around the love Demeter had for Persephone to almost doom the mortal realm to an eternal winter to get her back.

I love the myth of Hades and Persephone, truly, I do. I understand the appeal it has on people, the appeal it has one me. I can see why people adore the myth in the way they do because Hades is one of the better husbands in Greek mythology (a low bar, but my point still stands).

Personally, I blame Lore Olympus and especially the video of the myth by Overly Sarcastic Productions for the way the myth is portrayed in mass media. And I say this as a former LO fan and a fan of Overly Sarcastic Productions 😭

I'd also want to go into my many, MANY gripes about “Crown of Starlight” by Cait Corrain, but in all honesty? I don't think I can properly convey how much I DESPISE Cait and their book. So I'd highly recommend y'all to check out the videos about Cait Corrain by Reads With Rachel, WithCindy, and Xiran Jay Zhao on YouTube if you're interested in going into more detail about the controversies, especially for those who weren't made aware of it.

I feel like the publishing industry just... Isn't good anymore, after Booktok went viral. Reading has been “hot girlified”, and all Booktok seems to ask when they get recommended a book is: “Is it spicy??”

Reading is like fast fashion, now. It's all based around certain popular tropes that that's how books are promoted now. Not for the plot — or sometimes lack thereof — but for the tropes the book has.

The only thing I can thank Booktok for is that they helped me discover The Cruel Prince. And even then, it's marketed as romance on there, when it's a political fantasy with a romance subplot.

‼️ Woah! A secret bonus section! ‼️

I, personally, don't read — nor do I like — Sarah J Maas. (Especially considering the problematic aspects of her storytelling, character portrayals, and is (apparently, correct me if I'm wrong) a Zionist)

However, that isn't to say that I don't like some of the characters she makes. A lot of them have potential, actually! From what I've seen, I think Nesta, Gwyn, Azriel, Eris, Tamlin and Lucien from ACOTAR are the only characters I actually like, based on what I've heard — and seen — on anything in the SJM critical tag on this hellsite.

And while we're at it, let's discuss the elephant in the room with ACOTAR, right? Rhysand.

By all that is good and holy, I hate Rhysand so much and I think I'd hate him even more if I actually READ the books. I don't get why Booktok is so invested in him when Maas retconned Tamlin's character to make him look better as Feyre's love interest.

Also, from what I recall, didn't Rhysand sexually assault Feyre? And he didn't bother to apologize for it, and justified it with his sad tragic backstory??

I can't with y'all, istg 😭 the fact that “Feysand” is apparently a Hades and Persephone retelling too makes me even more mad about it because it isn't even a GOOD retelling. It just takes away what ACOTAR originally was— a Beauty and the Beast retelling, with Feyre and Tamlin as the leads.

Didn't Maas dedicate ACOTAR to her husband because “He would go under the mountain” for her??? BECAUSE IT CERTAINLY WASN'T RHYSAND WHO SAVED FEYRE FROM UTM, I'LL TELL YOU THAT

I think, out of all the series Maas has made thus far, Throne of Glass is the only one I ACTUALLY kind of like, based on what I've heard. Crescent City seems to be too complicated to understand, and even though I've never read it myself, I miss what ACOTAR could've been. (My hope lies with Nesta, Elucien and Gwynriel, at this point)

[theoi-crow]

The chess game between Medea and Jason and how Medea's original story is a feminist story:

So a few days ago I was talking to @teawiththegods about a book he had read that was a feminist re-telling of Medea. The author seemed to have lacked a very fundamental understanding of Medea's character because Hecate wasn't mentioned in the book at all, which is wild since Hecate is Medea's go-to goddess for every spell she does!

But as we talked further it was clear the author also lacked a very fundamental understanding of Medea and Jason's relationship towards the end of their separation but it's one of my favorite parts of Medea's story which, in my opinion, makes it feminist by itself but not many people understand that because they lack the ancient context for which it was written that drives the point that:

Medea won a chess game where the odds were stacked in favor of Jason and the game was rigged against Medea herself:

How were the odds of the game stacked in favor of Jason:

1) Medea couldn't kill Jason or he'd win:

One of the main things people complain about regarding the story of Medea is Medea killing her children and wonder why she didn't just kill Jason instead. But the reason why she didn't do that, and why she couldn't kill Jason at all was because she would have immortalized Jason's heroic persona.

In ancient Greece they believed the best thing someone famous could do was die at the height of their popularity so they wouldn't have time to ruin their own reputation and legacy. At the beginning of Euripides's Medea, Jason is at the height of his popularity. This is evident by the king of Corinth wanting him to marry his daughter because he was the legendary Jason from Jason and the Argonauts (the ancient equivalent of being the modern leader of the Avengers since he also assembled legendary heroes in his ship like Hercules and Orpheus).

Jason knew he had the upper hand and if Medea killed him, he would forever be remembered as a hero who was tragically killed by his jealous wife (in the same way Agamemnon was killed by his own wife Clytemnestra) and Medea herself already had a bad reputation for killing her own brother, despite her only doing so to help Jason escape her father.

2) If she killed Jason, her own children would have to kill her:

Her children would be bound by the gods to kill her and if they did kill her, the furies would come to torment them for killing their own mother.

In Aeschylus's Oresteia, written a good 20 plus years before Euripides's Medea, One of the main tragic points in the story was Orestes being duty-bound to avenge his father which meant he had to kill his mother. In ancient society this was a rule. Children, especially sons, needing to avenge their parents, especially their fathers, so Jason knew that if Medea killed him, not only would she ensure his heroic legacy, but the ones in charge of carrying out his revenge were his sons, the keepers of his legacy, who were also the great-grandchildren of Helios (Medea's father was his son).

Medea preferred living with the guilt of killing her own children rather than the thought of forcing her own children to kill her and be forever tormented by the furies if they did, or be punished by the gods for not avenging their father if they did not. She had already killed her own family member for Jason before, so killing again for Jason would be a type of dramatic irony that now also affected him.

3) If she did nothing Jason would still win:

When I say Jason had everything, I mean he had everything. He was going to become the king of Corinth and live his life as a hero.

Medea is the reason behind him getting the golden fleece and she is the power behind all of his success and he was going to take her credit and cast her out of his new kingdom along with their children. He didn't care if his children were going to be bound to a woman who had a cursed reputation and be doomed to living a life of extreme poverty. He only cared about getting rid of his previous family to make room for a royal family, in his opinion, a proper life fit for a hero. He was Hera's favorite and even Medea could see that he had insulted Hera (the goddess of marriage) by not honoring his own marriage vows to her. Jason was being selfish and Medea couldn't let him just get everything he wanted.

Imagine working so hard to help someone you loved and trusted and you sacrifice your own comfortable and cushy life only for them to steal your credit, take all of your stuff and curse you to a life of poverty, and despite how he fucked you and your children over, your children still had to praise their father because they are bound to his legacy! He is the reason why you are irrelevant and no one will ever remember you except as a stepping stone for HIS success!

Jason took Medea's credit, used her as a stepping stone to reach his heroic status and had children with her who were a part of taking care of his legacy and bound to avenge him if she killed him. But if she chose not to do anything to him he would win either way and his legacy was set to be praised forever, this time as a king who could continue to expand his legacy and potentially turn into a god like Hercules. There was nothing she could do about it.

How she won and ruined his legacy and reputation:

1) Using her status as Jason's property:

Like most ancient Greek women, Medea was seen as Jason's property which made her his responsibility.

A lot of people think it was unnecessary for her to have killed the princess of Corinth because it wasn't the princess's fault who her father wanted her to marry but Medea was trying to kill the king of Corinth himself and she knew he was going to hold his dying daughter without realizing he too would get killed through the poisoned garments. Plus Medea knew the princess of Corinth wanted to exile her children with her and doom them to a tragic life which is why she sent her children with gifts from Helios in order to beg the princess to change her mind about exiling them.

What would killing the king and his daughter do to Jason? He would be blamed for not knowing how to "handle" his woman and "control" her, as was expected of men back then. Her outbursts were his responsibility.

Her killing the leader of Corinth and his only successor made Corinth vulnerable for another kingdom to invade. As Jason's property this made Jason the reason behind Corinth's downfall, thus causing Jason to be known as a cursed hero who will ruin your city-state if you try to associate with him or even welcome him into your home.

2) Jason depended on his children to fix his reputation:

Did Medea have to kill her children? Yes, because she knew that if she didn't whether they wanted to or not, they would undo everything she had done to ruin him because when ancient Greek people did well their fathers would also be praised because their father's names were used as a last name for the child for example: Odysseus's full name is actually Odysseus son of Laertes and thus in the ancient world whenever you praised Odysseus you were also praising his father Laertes.

Similarly, Jason's children had a duty to fix their father's reputation which means that if she allowed them to live, they would also do their best to uphold his reputation and undo everything and Jason would still win. Even if they didn't like him or they didn't' want to they had to. Plus already being the great-grandchildren of Helios, the sun itself meant they were already great, which meant their father was already great because they had "son of Jason" attached to their names as a last name.

So imagine your ex has ruined your life because before he came into your life you were the princess of Colchis, the granddaughter of the sun itself, your father was a demigod and your aunt was Circe! The same Circe who turned Odysseus's men into pigs. You had everything and you left your glamorous life because you fell in love with someone who stole your credit, used your ancestral connections to Helios and ultimately betrayed you. And now that you found a way to ruin him in order to avenge yourself, your own children, regardless of their own complicated feelings towards their father would have to undo everything you did and uphold his legacy as a hero so he still won. But killing them would ensure your ex will be seen as a walking bad omen and ruin his reputation forever.

3) Killing her children sealed Jason's fate:

Jason never expected Medea to kill her own children, no one did because no woman had ever done that before but Medea herself was already a walking curse, she knew that if she killed her children the world would pity them and never blame them for what she did but if she allowed them to live they would be at odds with her because of how society favored fathers plus she also risked ruining their reputation and living a miserable life anyway because of her own reputation.

Being exiled meant they would potentially have faced a lot of SA as children who are doomed to wander and potentially live as slaves if they got kidnapped. Medea herself would have to be a sex worker if she wanted to make money to support her children as a single parent while Jason lived a glamorous life as the king of Corinth.

If she killed Jason they would have to kill her no matter how much they loved her or they would be cursed by the gods.

If they live they would automatically fix Jason's reputation if they gained glory and would have to blame their mother in order to explain why their father, the hero, was cursed. No one would care that Jason stole her credit and she was angry about it because they were married and according to their customs, she is his property and her credit is his credit.

But if Medea killed them, they would not be blamed for anything, they wouldn't be used as pawns to fix Jason's reputation and Jason would also be blamed for not knowing how to "handle" his wife and save his children, and Medea would finally get the revenge she has been wanting for every wrong Jason has ever committed. He would finally feel the pain she felt from his betrayal. He would finally feel as helpless as this game of chess made her feel. He would finally suffer in the way he made her suffer.

In the end she cursed him to live a life where his reputation was ruined and when he finally became irrelevant, he died being killed by the rotting wood of the very same ship which once made him great.

Checkmate.

[dreamtydraw]

Rewatching snow white ( the 1937 Disney movie ) with my little sister and I think it’s a great example on how people view feminity as weakness.

There is this image in media that snow white message is outdated because she gets saved by a prince and she’s naive but that so reductive of the whole movie and snow white as a character. Sure the social message of this almost 100 years old movie is vastly différent because of the war context and the goal intended for snow white as a character but aside of that ( because that important but too long to develop) even if you apply today modern standards, the film isn’t less feminist ?

Snow white is a polite pretty and kind woman. She takes care of the animals and in return they help her. She survive an assassination attempt and willingly choose to stay kind to other. When she chose to clean the house it’s because she thinks orphans lives here and she wants to help them. She’s a princess but used to be her step mother’s slave / servant ( in french she’s said to be a slave ) so that means before event of the movie she spent her time working. And about the prince she loves him, sure it’s very superficial but nevertheless she show mutliple time that she has interest in him through the movie ( two songs about it ) yet it’s only when he saves her that she end up with him, her goal is not to end up with him from the start, it’s after that she find safety that she wish for more like her love being reciprocated.

She rules the house, she pray for the well being of the dwarfs and dosen’t let negative comments going against her principles ( she force the dwarfs to clean themselves even if they insist to not do so and she still try to befriend grumpy politely when he say he dosen’t like her. )

And about the apple, she let the woman enter the house because she thinks the old woman is sick and need water, again showing signs of her good heart. The old woman tell her she’s gifting her an apple that grant wishes as a thank you for helping her, she dosen’t eat it because she’s dumb, she eats it because she thinks it’s a gift with good intentions for her good acts. + the old woman INSIST that she eats it.

She’s not dumb or incapable but a lot of people think she is for some reason and I’m pretty sure that reason is her femininity. Snow white is a symbol of feminity she’s humble, a good housewife a pretty girl and is in love. Sadly a lot of people think that the only way to be a strong female character is by being a bad bitch, in the eyes of a lot of people women can only be strong if they actively shout that they are by showing off or exercising roles previously offered by men.

Similar thing happened with the Mario movie where they toned down Peach hyper feminine character to make her more badass and people were like « oh finaly they gave her a character »

Hyper feminine characters aren’t less strong because of their hyperfeminity…..

Anyway that my little rambling and I take this occasion to remind people TO NOT watch the live action remake because of Gal Gadot’s presence importantly. Gal gadot is a proud zionist, idf soldier and was introduced in hollywood with intention of propaganda. + they used cgi instead of hiring real actors for the dwarfs and Disney suck ass. Watch Mirror mirror instead:

[coochiequeens]

This is why we still need Women’s History Month.

By Martha Gill

What was life like for women in medieval times? “Awful” is the vague if definite answer that tends to spring to mind – but this is an assumption, and authors have been tackling it with new vigour.

The Once and Future Sex: Going Medieval on Women’s Roles in Society by Eleanor Janega, and The Wife of Bath: A Biography by Marion Turner both contend that women were not only bawdier but busier than we thought: they were brewers, blacksmiths, court poets, teachers, merchants, and master craftsmen, and they owned land too. A woman’s dowry, Janega writes, was often accompanied with firm instructions that property stay with her, regardless of what her husband wanted.

This feels like a new discovery. It isn’t, of course. Chaucer depicted many such cheerfully domineering women. The vellum letter-books of the City of London, in which the doings of the capital from 1275 to 1509 were scribbled, detail female barbers, apothecaries, armourers, shipwrights and tailors as a matter of course. While it is true that aristocratic women were considered drastically inferior to their male equivalents – traded as property and kept as ornaments – women of the lower orders lived, relatively, in a sort of rough and ready empowerment.

It was the Renaissance that vastly rolled back the rights of women. As economic power shifted, the emerging middle classes began aping their betters. They confined their women to the home, putting them at the financial mercy of men. Female religious power also dwindled. In the 13th century seeing visions and hearing voices might get a woman sainted; a hundred years later she’d more likely be burned at the stake.

“When it comes to the history of gender relations, storytellers portray women as more oppressed than they actually were”

Why does this feel like new information? Much of what we think we know about medieval times was invented by the Victorians, who had an artistic obsession with the period, and through poetry and endless retellings of the myth of King Arthur managed somehow to permanently infuse their own sexual politics into it. (Victorian women were in many respects more socially repressed than their 12th-century forebears.)

But modern storytellers are also guilty of sexist revisionism. We endlessly retread the lives of oppressed noblewomen, and ignore their secretly empowered lower-order sisters. Where poorer women are mentioned, glancingly, they are pitied as prostitutes or rape victims. Even writers who seem desperate for a “feminist take” on the period tend to ignore the angle staring them right in the face. In her 2022 cinematic romp, Catherine called Birdy, for example, Lena Dunham puts Sylvia Pankhurst-esque speeches into the mouth of her 13th-century protagonist, while portraying her impending marriage – at 14 – as normal for the period. (In fact the average 13th-century woman got married somewhere between the ages of 22 and 25.)

But we cling tight to these ideas. It is often those who push back against them who get accused of “historical revisionism”. This applies particularly to the fantasy genre, which aside from the odd preternaturally “feisty” female character, tends to portray the period as, well, a misogynistic fantasy. The Game of Thrones author George RR Martin once defended the TV series’ burlesque maltreatment of women on the grounds of realism. “I wanted my books to be strongly grounded in history and to show what medieval society was like.” Oddly enough, this didn’t apply to female body hair (or the dragons).

This is interesting. Most of our historical biases tend to run in the other direction: we assume the past was like the present. But when it comes to the history of gender relations, the opposite is true: storytellers insist on portraying women as more oppressed than they actually were.

“The history of gender relations might be more accurately painted as a tug of war between the sexes”

The casual reader of history is left with the dim impression that between the Palaeolithic era and the 19th century women suffered a sort of dark age of oppression. This is assumed to have ended some time around the invention of the lightbulb, when the idea of “gender equality” sprang into our heads and right-thinking societies set about “discovering” female competencies: women – astonishingly – could do 

things men could do!

In fact the history of gender relations might be more accurately painted as a tug of war between the sexes, with women sometimes gaining and sometimes losing power – and the stronger sex opportunistically seizing control whenever it had the means.

In Minoan Crete, for example, women had similar rights and freedoms to men, taking equal part in hunting, competitions, and celebrations.

But that era ushered in one of the most patriarchal societies the planet has ever known – classical Greece, where women had no political rights and were considered “minors”.

Or take hunter-gatherer societies, the source of endless cod-evolutionary theories about female inferiority. The discovery of female skeletons with hunting paraphernalia has disproved the idea that men only hunted and women only gathered – and more recently anthropologists have challenged the idea that men had higher status too: women, studies contend, had equal sway over group decisions.

This general bias has had two unfortunate consequences. One is to impress upon us the idea that inequality is “natural”. The other is to give us a certain complacency about our own age: that feminist progress is an inevitable consequence of passing time. “She was ahead of her time,” we say, when a woman seems unusually empowered. Not necessarily.

Two years ago, remember, sprang up one of the most vicious patriarchies in history – women were removed from their schools and places of work and battoned into homes and hijabs. And last year in the US many women lost one of their fundamental rights: abortion. (Turns out it was pro-lifers, not feminists, who were ahead of their time there.)

Both these events were greeted with shock from liberal quarters: how could women’s rights be going backwards? But that only shows we should brush up on our history. Another look at medieval women is as good a place to start as any.

 Martha Gill is a political journalist and former lobby correspondent

[jesncin]

I appreciate most of your takes but don't understand how you look at a character like livewire, a character created in the middle of a 90's feminist movement and come to the conclusion she's supposed to a be a caricature of classical racist conservatism

?? huh is this an elaborate joke I'm missing out on?? Like you're roleplaying as a Shockateer? There's no tone indicators so I'm left to my own perception that you're being serious so I'll have to respond in seriousness. I'm gonna be so embarrassed if this is a joke :(((

So...just because a character is made "in the middle of the 90's" or "feminist movement" doesn't...mean they're a feminist character? Like with that logic, Tana Moon is a feminist icon I guess. Also "caricature of classical racist conservatism"? man, I kinda envy how people think the way I write her is Cartoony Evil Racism and not a toned down depiction of how personalities like Posie Parker, Matt Walsh, and Blaire White talk. I suppose I'm glad you haven't encountered anyone that awful. Good for you! 👍

Livewire meta under the cut fellas

I feel like you don't have a very holistic view of Livewire's character. Because while yes, she has been used for feminist critique in the show and comics, that's not all there is to her character. My take on Livewire is a commentary on how white womanhood intersects with parasocial internet grifts and the larger way identity gets filtered online. It's a take influenced by how she literally started out as a controversial provocative shock jock in STAS.

There's so much potential to re-imagine her hatred of Superman as a commentary on how white women feel justified in harassing marginalized men because it looks like a punch-up to misogyny. The way she uses the accident Superman caused as a way to white-woman-victimize herself and prime her audience to hate him more. You can take the spinoff comic where she only lets women speak on the air as her presenting a black and white, non-intersectional view of social progress. Kind of like how TERFs keep fantasizing about a world without men as a utopia? In CW Supergirl, Livewire plays into internalized misogyny and homophobia to jab at Supergirl. Not showing up for her fellow women if you ask me.

Because while yes, Leslie has been shown to be a character who had to deal with sexism, she's also a really compelling narrative for an imperfect victim. Just because a character deals with sexist hardship, doesn't mean it makes her a feminist ideal y'know? Leslie lashes out and weaponizes her victimhood, she uses her audience to bully others.

I think one of the flaws to the longevity of her character as a villain is because her narrow hatred of Supes makes her themes short lived. So I really want to expand it through Satoshi Kon-style deconstruction of how people juggle having multiple identities in the modern era. In the (bleh) Batgirl Burnside comic Livewire shows up in, she returns as a being of energy who doesn't remember who she was before. In STAS, it's left ambiguous whether she actually believes what she says about Superman or if it's all part of an act that "pays the bills!".

Imagine the opportunity to make it so she pieced together a sense of self from the fractured way her audience viewed her! What a great way to talk about how parasocial relationships make us think we know a person from the bombastic way they present themselves (Casually Comics thought of this brilliant take). DCSHG has been the most competent reimagining of Livewire. A perfect update of her shock jock origins into the internet era that revitalizes her attention-seeking traits into the clout-chasing grind of social media personality.

All this to say, Livewire's way more that just "sassy woman on the radio fighting against The Man!" I think making her a punk appropriating, rebellious, internet personality who uses her privilege to marginalize others for clout and money is a natural, more political progression of what DCSHG built with her character.

I don't really understand how you can look at a character whose most prominent iterations involve her bullying and targeting people (including other women) and tell me she's "feminist" unless you actually believe in Leslie's version of White Woman Girl Power. Any kind of "feminism" that touts Hating Men as a major point should be something to be critical of.

[unpredictable-easty]

Stree 2 From Feminine Gaze

Bollywood has always been known for its Masala movies. Though there has been a slight turn towards more serious topics these past few years, it is refreshing when one of these entertaining, silly, music-filled movies makes a presence in front of us. 

As a person who likes to dissect a show or movie scene by scene, Stree 2 is a good study. Though it can be classified as another Bollywood masala with a mix of horror thrown in for good measure, there are factors to it that my feminine gaze has caught, scenes that perhaps, if we delve deep into it, would show the societal position of women.

I am sure I would have missed a lot more things than I caught but I would still like to put focus on the scenes that have caught my attention.

Scene 1: In the beginning of the movie we listen to the conversation between the characters where they talk about how women have been leaving their small town for better opportunities. Though at first I thought it was normal but when we delve further in the movie, we find out that the women they are talking about, have supposedly left the town without informing anyone about their intention, they disappeared overnight and nobody heard from them after that.

This scene rankled me. It also shows a significant truth about society. Girls with ‘modern thinking’ somehow become this other creature in our society. They somehow become the enemy of society and their life or well-being becomes an unnecessary thing. So many girls disappeared in the middle of the night and the only conclusion drawn was that they left themselves, without any investigation or even a try at contacting them. 

This problem, when considered for longer, can show why crimes against ‘modern women’ may be dismissed so easily, as if they were not done against a living breathing human.

Scene 2: The scene when they get to know only women with ‘modern thinking’ are getting kidnapped and all the household ladies argue that they would be safe from the monster because they are not modern. 

Pankaj Tripathi points out that if women had social media if they were educated or they went out, all these things also make them modern.

This argument brings out the age-old situation of women themselves not realizing how they have benefited from feminism. Every generation there will be women who will scoff at feminists fighting for rights and they will not realize that whatever freedom they have at the moment came from feminists before their generation. And thus the cycle continues.

Scene 3: The biggest thing to watch for and observe is the way the monster ends up controlling the male population’s mind and makes them revert back to the thinking that is centuries old. 

Here’s a comparison to be made, in the first movie we can see that Stree haunts the village, that she takes away men in dark, she calls their names and if they turn, she takes them. At no point in time is there a difference in men’s societal position, no women tell them to stay in their home the whole day or lessen their importance in their household. While the first thing done to women when the monster controls their minds is just that, control over women in every aspect of their life.

 We can’t blame the male population over it of course but it's the symbolism of it all. One can always argue that the monster was created in that way but we have to remember that what happened in the movie reflects the real life that so many women still live.

It also reflects how women's freedom eventually ends up being an illusion and how it can be taken from them if they don't constantly fight for it.

There is another incident that made me laugh a lot. When JD says to Varun Dhawan, ‘You’re a werewolf, don’t behave like an Animal.’ I don’t think it will take a genius to guess what this was in reference to.

At the end, I would just like to say that this movie not only proved itself entertaining but it’s subtle nuances make it clear that the writers, directors, and the whole production team put a lot of brains behind its planning and making sure that there were a lot of messages that should not be missed. Perhaps if we had more movies like this, the old spirit of Bollywood would be back and we could be entertained while being aware of the social spirit that art should always carry.

[artyandink]

𝐑𝐄𝐂𝐑𝐄𝐀𝐓𝐈𝐎𝐍𝐀𝐋 𝐒𝐄𝐋𝐅-𝐃𝐄𝐒𝐓𝐑𝐔𝐂𝐓𝐈𝐎𝐍 | 𝐬𝐨𝐥𝐝𝐢𝐞𝐫 𝐛𝐨𝐲 | 𝐛𝐥𝐮𝐫𝐛

A/N - If I do decide to write this, it’s going to be challenging since I do not use swear words in my writing (and Ben does) but hey, comment if you’re interested!

“I stood by you.” I whispered, looking at him in the green eyes I’d known for so long. They’d changed. Evolved, with how much we’d both been through. “I’ll always stand by you, but I’ve gotta do it on my own terms.” I ran a hand through my hair, hollowing my cheeks out as I swallowed dry. That hand then swept down my mouth and over my bottom lip before landing in my lap. “I ain’t happy with who I am, Ben. Who I became.”

“Shut it. There’s nothin’ wrong with you… nor me.” Ben growled, looking away and his tone rough, like it always was when he was this defensive. “We were doing our jobs. We were… are leading a team, just like the old days. Ain’t nothing wrong with that, is there? No, there isn’t, in case you were about to talk back. Damn modern days and all the useless, feminist crap it put in that pretty little head.”

“Our job was and is to serve and protect, I know that much.” I frowned, looking away for a hot second. “But we’ve destroyed ourselves for the sake of the job. You were betrayed by your team and everything went goddamn south. I was fine not being at the forefront of everything. I was happy not fighting Homelander. I had a life. But the moment, the moment I get a call from Butcher saying that you needed me, I came for you. I came for you! And we went down like the frickin’ Titanic. All that talk about saving me from mundane, unnecessary things like social interactions and a stable job… but what if I didn’t need saving?”

“Yes, you did!” He stood up, towering over me with his eyes looking like they had a forest fire going on in them. “I remember our days fightin’ Commies, and you’d take hits but you stood up and hit those bastards back until they couldn’t even walk. I remember when you’d kill first, ask questions later. That version of you is the one I need. To win my fight.”

“Is that why you need me?” I scoffed, rubbing my forehead. “For the fight and nothing else? I remember our days where we were friends. Even if we were sitting in silence, smokin’ blunts- we did it. We shared smiles on the battlefield. Where we’d crack open a whiskey bottle and criticise whatever we wanted to. We’ve changed!”

“For the better!”

“Is that what you believe?” I searched his face for one sign that he thought it was true. “That your revenge-driven craze was for the better? Against Mallory? Butcher, who got me to bust you out after tellin’ me that you were taken? We destroyed ourselves, Ben!”

“For the job!” He retorted, grabbing my chin roughly. “You’re supposed to support me, that’s what we’ve always done.” In retaliation, my eyes glowed red, sending a sharp pain through his head that forced him to let me go. I rubbed where he grabbed me with heavy breaths leaving my mouth, a small growl at the end of it. The audacity of this man.

“We didn’t destroy ourselves for the job. We destroyed ourselves because we could. I was happy without a fight, and now? You got me addicted to it.” I bit my lip, then took a deep breath. “And I want out.”

“You don’t get an out.”

“I ain’t givin’ you a choice.”

“If you walk out that door…” Ben got up close, his jaw set like stone and stature imposing, like it’d always been, “don’t you ever come back… you’re dead to me. You’re goddamn dead.”

“If that’s how it’s gonna go, fine.” I nodded, then swept my hand down my mouth, steeling my expression. I was losing my oldest friend. My co-leader. The man who told me it was always him and I, no matter what. This is how it ends. “I’m dead to you.”

“Leave.”

I dug my heel into the ground, turning on it and walking straight out. I walked and I didn’t look back, even if the urge clawed at my neck to do it. I never thought it’d come to this point, but I guess the good things don’t last forever, and I learnt it far too late. I’d have to fight the proper way, I’d have to fight smart, and not by Ben’s terms. Not like Soldier Boy. I’d have to take this on the right way.

I pulled out my phone, dialling a number and putting it to my ear as I walked into the open road, down the pavement and looking up at the clear blue sky, which I rather envied as my head was clouded with the thoughts of every passer-by and their dumbass decisions to buy a doughnut or go for a walk in the park. “It’s me. I’m in.”

LMK if you want this to become a series, guys!

Luv, Arty :)

[brothermoth]

DEAR GOD PLEASE READ THE WHOLE THING I AM BEGGING YOU. PUT ON YOUR ENGLISH CLASS LENS AND ANALYZE MY EVERY WORD

~~~~~~~~~~

I've been lurking among the Tumblr trans community for a while, just reading people's thoughts and trying to kinda work out where the disconnect is here.

There is a major communication issue here. I'm transmasc personally, but I absolutely do not want to undermine the very real danger that trans women are in, especially now with all this fucking shit going on in the world.

First of all we can say with certainty that trans women do face a heightened degree of danger and oppression. I will never deny the existence of transmisogyny and I think we DO need to listen to trans women when they bring up common issues within the community that they've faced. Rocky Horror Picture Show, Silence of the Lambs, Ace Ventura—these are transmisogynistic pieces of media that violently villainize trans women. I think we (trans men, wider LGBT community) need to do our part to make sure that we are not supporting media that contributes to this. They're just movies. We can let them go.

[Watch Paris is Burning it's heartbreaking and incredible and I think everyone should know Venus Extravaganza's name because what happened to her and so many others is abhorrent]

Trans women ABSOLUTELY are very much visible to bigots. They're wearing those orange construction vests by absolutely no fault of their own and it's so so important to push against this. Transmisogyny is a massive problem and these ladies deserve to be heard.

This can coexist with the frustration expressed by trans men. It can, I swear. You know how? Because what both sides of this are asking for is to be heard, and to be listened to. We can acknowledge transmisogyny as the force that it is AND there can be space to hear out those discussing transandrophobia. These things aren't opposites! They're not.

Trans men are largely not denying that trans women absolutely face more scrutiny and violence. I've scrolled many a post, I've checked out the more popular blogs who make decent points on the matter. [I won't tag anyone or make mention by name. I don't want people getting attacked or feeling called out].

Marginalized men can absolutely say that their masculinity and status as a man contributes in a unique way to their oppression. Nobody is saying that "Men" as a whole are oppressed. Man is not a class. Woman is not a class. That is radfem nonsense and it has absolutely no weight to it. It is not for you to say that their experience cannot be misandry. They're not saying anything against women! They're not. They are saying "Hey this is something I've noticed and experienced and I think this word fits to call out these topics".

Radical Feminism is fucking stupid. I'm sorry, but it is (but many radfems are just people who are hurt and oppressed but it doesn't negate the hurt toward other people). I'm a feminist and I always will be, but as a history student I am very much trained to look at a wide picture of literally everything always. Look at the world, look at history. Read what people wrote before your grandparents were born and get a view of the world that is complex and contradictory at times.

Woman is not a class. Woman is an aspect, an identity that very frequently means oppression for whoever that label can be applied to. Misogyny is pervasive and it is real and it's woven into the modern world. But so is racism. So is classism, ableism, homophobia, transphobia. YOU CANNOT TAKE A SEAM RIPPER TO OPPRESSION. You can't split these things apart from each other. They're fused together and you are doing no favors to anyone by splitting them apart.

The thing about marginalization is that it is a hydra and you have to cut off the heads and then burn the stump to kill it. You can't just cut one and wipe your hands of the whole affair. Everyone is the sum of their whole being and their whole experience and we all deserve to speak on our own oppression.

Sometimes it's a bit conflicting. I know. Just let it be. It'll conflict, it'll be weird and confusing because it's supposed to be. Oppression isn't one system, it's a dozen over thousands of years. Do not pretend otherwise. It's not Us Vs Them it's a goddamn food web. It's weird! It's hard to grasp! Personally I think that wealth status is the more influential aspect (historically, currently).

My point is that queer men are allowed to feel isolated and demonized. That is not at odds with trans women expressing their own concerns about the very common transmisogyny seeping into communities they should be safe in! We can all listen and say "I understand, how do we work through this?"

Stop telling marginalized men that misandry isn't real. It's real if marginalized men feel that it is! Making them feel safer and more comfortable is not at odds with making queer women feel safer and more comfortable. Your inclusion should never be at the cost of someone else's. You fucking compromise.

On the flip side, men can put in effort to be aware of misogyny and how it affects their own views. A problem doesn't have to be the most pressing issue ever to be addressed! My leaking refrigerator doesn't mean your messed up light switch has to be neglected. Those are for two different professions! I call a plumber, you call an electrician. My issue might be a bit more serious (and cause structural damage) but your light isn't Not broken because my refrigerator is. Misandry can exist without overshadowing misogyny. Clearly it's not a structural issue, but we can still take a look at it.

I also think it's really upsetting to everyone involved when generalizations are made and insults are tossed around. Just fucking talk. Just talk. Transmascs always do this—transfems do this—shut up. We went over this in like kindergarten.

"I've noticed there's a lot of people who say [x] in these spaces"....."you know, I'm really not comfortable when folks say [x]" call out bad behavior. Absolutely call out bad behavior, don't let that shit stand. Call out the person doing it though. Ideology is not identity! An ideology can change. Terfs are usually women but not all women are terfs. They're women who CHOOSE to believe certain things. Generalizing is a massive issue and it's super common and it's stupid. Stop it.

Queer people are assholes sometimes because we're people. Call out the behavior not the identity.

Everybody shake hands and say I love you and be nice to each other. Write your strongly worded letter! It's better than just being an asshole. Trans people put on your get along shirt and burn Marjorie Taylor Green at the stake. Put Joanne Rowling on an inflatable raft and push her out to sea. You are not each other's enemies you want bodily autonomy and the ability to be safe and comfortable in your own damn body.

------------

Please don't dm or harass me. I mean the best and I'm totally willing to correct myself and change opinions of things if you make a convincing enough argument (hey, that's how everyone should be).

Trans people I would fight the US Senate for you. Me and a stick of my choosing. I'm going to bat for us. Trans women I love you you deserve to be happy and loved and safe. Trans men you deserve to be happy and loved and safe. Even if I personally don't like you as a person, I'm fighting a senator for your rights. Even if you're a douchebag. Queer people deserve the right to be assholes because everyone deserves bodily autonomy and human rights.

thank

[yumeka-sxf]

A chronological analysis on Twilight and Yor - Part 23

*This is part of an ongoing post series. If you missed the Introduction/Part 1, click here*

----------

When Yor says goodbye to a very grateful Olka, the latter leaves her with some heartfelt parting words: she'll be praying that Yor and her family can find peace and happiness. Yor is taken aback by Olka's gratitude, which is understandable. Being an assassin is an unappreciated job, since most of it involves simply killing your victims and then disappearing without a trace. Her assignment with Olka may have been the first time a client expressed such sincere gratitude for the work she does. Not only that, but Olka having Yor hug Gram while telling her that she's the reason he has a future, is probably the first time she was able to so plainly see how her work can mean the difference between peace and tragedy for a family in need.

Despite the fact that Olka had repeatedly reminded Yor that her family is just for show, she's obviously realized that Yor sees them as much more. She can't openly tell this to Yor, so perhaps she chose these particular words of farewell as a way of getting Yor to really think about how much her family means to her…in the hopes that one day she can also leave the horrors of the underworld behind to pursue a quiet life. Olka's words may have struck a chord, as Yor seems very deep in thought while she and McMahon watch Olka's raft disappear into the distance. When McMahon notices how melancholic she looks, he reminds her not to get sentimental since they're both just foot soldiers. But ironically, almost immediately after, he tells her that she should meet up with Loid and Anya as a reward for her hard work while he takes care of any further incidents.

McMahon's history with Yor (if any) is still a mystery, but despite his stoic demeanor, maybe he too realizes that she truly enjoys being with her supposed "cover up" family.

I've seen discourse surrounding the idea that Yor's preference of "traditionally feminine" roles – wanting to be a wife and mother – is a sign of weakness and submissiveness. In addition, as @connoisseursdecomfort discusses here, some people only see one aspect of her character instead of the whole picture, and paint that in a negative way. To quote Connoisseur's post:

"Endo doesn’t want [Yor] to be just soft and sweet and sexy and strong. Like any other human, she is very self-conscious when she doesn’t fit in, and all of these discussions really show how realistic it is for Yor to feel insecure - she is too muscle-head and strong to be feminine in the eyes of the Asian readers, but too sensitive, gentle and ditzy to be masculine. She is not created to fit any standards, and therefore deemed a failure in every reader who sought to make another exemplary woman of this modern age. She has to be perfect, but she will never be."

If by "ditzy" people mean she's naïve about many things, then yes, she is, but there's a reason for it that anyone who's paid attention to the series can easily see: since she had to raise her brother since childhood, she wasn't able to pursue a proper education or gain the kind of real-life knowledge most people who live "normal" lives do. If by "ditzy" they mean she's too nice or polite…why is that a bad thing? While her low self-esteem makes it hard for her to stand up against people who insult her directly, she doesn't hesitate to attack anyone who threatens her family, nor does she hesitate to kill bad guys on her missions. So why is being nice to people who are not a threat to her a bad thing? Since when does having a brash, cocky attitude equate to strength, while being polite and nice to others by default, along with the very human displays of vulnerability and self-doubt, equate to weakness?

In my opinion, anyone who feels this way about Yor – that the only personality trait she has is "ditzy," or that it's somehow anti-feminist for her to desire the peaceful life of a wife/mother instead of something grander – is missing the whole point of the series. I discussed earlier that Endo does not portray Yor's profession as something glorious that she enjoys doing. It's dangerous, ugly, and morally ambiguous, but she does it out of desire to protect her family. Not only has she been doing it since she was a child, and thus was never able to experience a "normal" life, but it's a job with very little appreciation or acknowledgement. So after living with Loid and Anya, people who appreciate her for who she really is, don't force her to act certain ways nor expect anything in return, why should she be ridiculed for desiring peaceful days with them instead of living only in the cold, thankless underworld? Loid never forced her to remain his wife and Anya's mother after the interview – she chose to stay, at first for her own benefit, but she soon realized that being with them makes her happy. Is it "submissiveness" that someone who's been thrust into a dangerous, unforgiving life as an assassin since childhood now finds comfort in the traditional role of wife/mother with people she loves? Submissiveness is blind obedience, where you live a certain way by someone else's choice or even by force, and that's not the case here. There's no rule that says being a strong woman necessitates a complete rejection of feminine roles and values. A strong female character isn't necessarily one that's filled with self-confidence or tomboyish brashness…if anything, having no inner turmoil for them to overcome makes them a weaker character in my opinion. She's not throwing anything away for "a man" by choosing on her own to stay with Loid because he's always kind and considerate to her. As we saw at the end of her epiphany, she didn't even have to choose her role as a wife/mother over her role as an assassin – she decided to keep being both, but it's her love for Loid and Anya that made her resolve for remaining as Thorn Princess even stronger than before.

What's even more amazing about Yor's character is that, even when she understands that she doesn't need to be an assassin anymore – that no one needs financial support from her work, she still makes the most unselfish choice. She could have ditched her Garden work completely to pursue the life that truly makes her happy, which is being the wife/mother of the Forger family. After knowing how selflessly she's lived her life up to this point, pretty much sacrificing her well-being for Yuri's, no one would blame her if she decided to finally choose what's best for her now. But instead, she chooses to continue her unselfish way of life…even if it means sacrificing her own happiness yet again, she will continue this dangerous line of work, because preventing tragedy from befalling her loved ones or the world in general is more important to her than her own personal happiness. Having such unwavering selflessness, in addition to being a kind and patient mother, encouraging wife, and deadly assassin who still retains her humanity, Endo has done wonders making a character both cute/sweet but also a total badass who's strong on the outside as well as the inside.

Continue to Part 24 ->

<- Return to Part 22

[aifsaath]

I am continuously perplexed at how a show as objectively bad and problematic as hotd keeps inspiring outstanding fanfics like yours and @gwenllian-in-the-abbey’s. Truly it’s a mystery to me, especially considering that the books covering the dance are supposed to be quite mediocre as well from what I’ve perceived. Just so you know,with that trailer out now I’m gonna completely blend out the events of the show and consider our fathers clad in red canon

@gwenllian-in-the-abbey AAAAAAAAAAAAAA, I think George's gonna order a hit on us:D

I'm glad you like our slightly destructive approach to teh canon. I'm mostly fueled by spite and my dislike for George's and HBO's complete disregard for the historical context of the stuff they draw their inspiration from (you can't do the Matilda vs Stephen showdown and expect the same sense of injustice, when your main conflict is about Viserys' imbecilic approach to rules, Rhaenyra's weak-ass claim and papa/dragons being her go-to solution to all her problems, Daemon being a chaos gremlin, Corlys' malignant ambition and the Hightowers being the only ones who actually care about the rule of law.)

A lesbian romance doesn't automatically turn a story into a feminist manifesto, nor does a girlboss who's treated by the narrative as the second coming of Christ. Context matters and it's a mistake to view the Dance through the lens of modern ideals about egalitarianism.

GRRM's hubris when it comes to "Aragorn's tax policies" is just another thing that enrages me and Gwenllian, because the man completely misunderstands the medieval legal codes. Just because they were complex that doesn't mean they were fucking contradictory on their own; no one wanted civil wars breaking out each time a monarch died.

Problems happened when two countries with generational beefs worked on two different principles of succession, ie. England (male-preference primogeniture) vs France (male-only primogeniture), or if there was some dynastic fuckery that completely messed up the clear-cut succession lines with usurpations and cousin marriages (Yorks vs Lancasters).

Had Richard II (the son of the Black Prince) died peacefully without issue, the succession would have followed through the line of the Duke of Clarence, with Edmund the Earl of March eventually becoming the king (and he was Richard's heir, btw).

But that's not what happened. The son of John of Gaunt usurped the throne and it was then passed down through his line, because he was the crowned king. Now, you can argue whether or not he had any right to do the usurpation in the first place and whether or not he was the legitimate king and you bet people back then argued about that too. This ambiguity is how you create a proper narrative about actually conflicting claims. The only thing propping up Rhaenyra against her brother is the fact that Viserys is a moron.

How the fuck can I take F&B seriously and without the Dead Sea's worth of salt, when it pretty much blows Jaehaerys' posthumous dick about his wisdom when he "let" the council of 101 decide the succession (while politely ignoring the fact that Jaehaerys' own claim is legit only in the cases of either full salic or semi-salic succession, ie male-only), while never once it calls out Viserys out on his extremely dangerous decision. He gets to die venerated as the peaceful grandpa and all the blame for his incompetence is piled on Aegon II and Alicent.

Let's go through the possible succession systems, shall we?

If we follow male-preference primogeniture, the legitimate line of kings ends with Aerea because she was the eldest child of Aegon the Uncrowned, Maegor's eldest nephew. Only after she and her sister die without issue, Jaehaerys can become the king. Jaehaerys' canon ascension works only because Rhaena gave up her daughters' claims. The next in line would be Aemon and after him Rhaenys. But that's not what happened.

If we follow the salic law (male only), the legitimate line of the kings goes Aegon I -> Aenys I -> Aegon Uncrowned -> Jaehaerys I -> Viserys I -> Aegon II. This is probably what Jaehaerys wanted to ensure, since he challenged Maegor's kingship in the first place.

If a crowned king can choose his heir, then Jaehaerys was never a legitimate king and Aerea was the true queen, because Maegor, who had won his crown in the trial by combat, chose her as his heir.

What about the principle of seniority? Cognatic seniority where men and women have equal claims is out of the question since Aegon I was the crowned king, not Visenya. Male-only seniority would go Aegon I -> Aenys I -> Maegor I (uncontested!) -> Aegon Crowned This Time -> Viserys the Not Tortured to Death -> Jaehaerys I -> Aemon (only if his uncle Viserys has no issue) -> Baelon -> Vaegon -> Viserys I -> Daemon (EW).

Notice the distinct lack of Rhaenyra.

Team Black keeps mentioning the widow's law, but that's a bulk of nonsense. I suppose the misunderstanding originates from a (willful) misinterpretation of this passage. The book says:

Now, I highly doubt Jaehaerys intended for the law to mean that a daughter from the first marriage should come before the sons from the second. The wording is a bit unlucky, but I suppose the intention was to establish the legal position of the second wife and her children as united with the position of her step-children - she has the same duties towards them as if they were own, and the same goes the other way. Which would make sense. Because otherwise, no one would be desperate enough to marry a widower with daughters. Since we know that title and land ownerships have remained in the same families without changing hands once or twice since the implementation of the law, I really doubt the team black's literal interpretation of the passage was the one intended. Ffs, Viserys was pushed to marry again because he had only one daughter, meaning, this law wasn't viewed the way the Team Black wishes for. And I'm not even delving into the fact that this would be a female inheritance hack penned by Jaehaerys, if that was the case. Talk about ooc.

So, yeah, we're taking Gyldayne's interpretation of the past with so much salt our hearts are gonna fail.