#dancing with the butterflies

[maiapnifavhu]

I think love can be like sunsets. It starts with a blazing orange sun, fire in the heart and veins, until it turns into a gentle pink glow bringing comfort to your soul.

[cak31ssuperi04]

Barbie protagonists but make it My Scene

[365filmsbyauroranocte]

Butterfly (Shuji Terayama, 1974)

[hyunpic]

[bluepr1ntyy]

Nothing is as underrated as fem shipkids LIKE LOOK AT THEM??

Also half of them have the coolest abilities?? ROULETTE CAN SEE THE FUTURE?? I’m going insane where are the fem shipkid enjoyer

( cred: pepper-mint, lunnar-chan, Jakei(art)/Alainaprana(owner), blue-kohina, niilamtika )

[black-salt-cage]

ଘ(੭*ˊᵕˋ)੭* ���♡‧₊˚

[somedayillbepeterpan]

I made a post about a side by side of Pen and Colin's first and last dance (so far) from S1 and S3 and now I'm drowning in the feels of it.

LOOK AT THE DIFFERENCE BETWEEN THESE TWO LAST SHOTS

S1E1 - Vauxhall ball dance

Them being such babies. Them jumping around, utterly caught by the energy of the dance. This is the first dance that Pen ever has after she's come out in society and I want to say that this is the first time that she's actually seen Colin as a man after he "rescued her". This is when the rose-coloured tinted glasses are shining brightly on her face as she looks at this boy she grew up with dancing with her in public, laughing and holding her in his arms. This is the first time she was held by another man in her life (I don't think her dad was ever affectionate towards her). Her first physical encounter with a man and it's with Colin no less (Colin really is first in everything where Penelope is concerned).

Even though there is a closeness between her and Colin already at this time, there is always Eloise in the middle. We think that Eloise being away in S3 gave them a chance to be alone together but Pen's 1st season out in society actually also gave the first chance of being alone with Colin (and then Marina came and ruined it all).

I also want to note that Pen is utterly cute in this scene. Ladies aren't supposed to wear their hair out the way Pen has it here. This alone should have told us that she is a rebel but also of how invisible she is.

Last thing to note (and this maybe just because of editing or this very beautiful but challenging height difference these two have blocking wise) is that we don't really see their faces clearly (I checked the actual video and it really is shot like that). We're only meant to feel the amusement these two have over this brief dance and I'm sure Pen went home on Cloud 9, thinking about this dance over and over.

It was her first romantic core memory.

Now we go to this scene:

S3E8 - Dankworth - Finch ball dance (Butterfly dance)

I have so many feelings about this dance. Firstly, their hand size difference!

Their smiles! Them overcoming such a huge obstacle! Colin just blasting every other love confession I've seen on this show! Them accepting each other fully, finally seeing each other for who they are. Them now ready to fully embrace their married life. I could go on and on and I will.

Both looking so ridiculously happy in this slow, intimate dance. Both looking so sexy and powerful, showing their acceptance of their maturity. It took them a while and a whole angsty journey but watching them take each step towards each other spoke to my heart and soul deeply. Their smiles in this dance was such a treat after being subjected to heartbreak.

In comparison with the shot in S1E1, we see both from their heads to their body (heart) but behind other dancers. I'm just thinking that this is the director saying this now will be your POV of Pen and Colin-- at the start of living their lives openly.

(I'm feeling sleepy now but I want to finish this)

It is so rewarding to see the journey that Pen and Colin goes through. I've been rewatching all 3 seasons and catching the growth between these two is so fascinating. The parallels, the clues, the subtle performances that Nic and Luke have been presenting on the table since S1. All so overwhelming at times at how privileged I feel to see their story laid out so beautifully.

What a gift Pen and Colin's love story is. I love their love and I'll stay here just for a little bit.

[illustratinghan]

james adored the butterfly dress so much he decided to surprise cordelia with a matching waistcoat 🦋

dress picked out by @alastairstom & characters by @cassandraclare 🤍

[sunnyart13]

Starco

[desceros]

tries to sleep, fails, gets melancholy, copes by writing purple turtle fic donatello/reader, gn!reader, rated t, 1.6k. insomnia, friends to.... friends, (were you ever just friends? are you something more? what is love if not friendship shifted an inch to the left?), yearning, yearning, yearning, yearning—

Donatello is sleeping.

Hefting a fatigued sigh, you hover in the doorway to his bedroom for a moment. Staring at his face, taking it in. He’s gotten unfairly handsome as the years have gone by. Beautiful, even. Pretty angles, sharp defined lines, dark seductive eyes. Like this, unmasked, slack in sleep, it’s free for you to look as much as you want. More than you can during the day. A little secret thing just for your own heart’s keeping.

…Best friends shouldn’t want to stare at each other like this, you think with an ache.

It’s late. You can’t sleep. Lying down has provided nothing but racing thoughts you can’t quiet. Things to do tomorrow. Things to say when you see someone. Things to write down if you can hold them until the morning. Things, things, things. So many things in your head, ten thousand little voices like little snowflakes in your skull. Each small, powerless; but together, a force too mighty to outrun.

And Donnie is sleeping. Normally he’s awake. Fiddling, poking, prodding, studying, twisting, cracking, bending. Available to draw you into sleep. Always soothing, petting your hair, cooing at you until you drift off at last to the dulcet sounds of his low rumbles.

But not tonight. Tonight he sleeps, pretty in his sheets even as he’s all sprawled out and drooling. Cute. He’s cute. He’s cute and close enough to touch but so, so far away that you know you never will. Not like that. Not like that. 

It’s late. You can’t sleep. 

Slowly, not wanting to wake him, infuriated with yourself just at the thought that you’d risked it by lingering as long as you have, you peel away from his door frame and sneak into the living room. The couch greets you again. Inviting, soft. It smells like turtle ass. Popcorn. Movie night. It smells like family, like home. Scratchy beneath your cheek. You’ve been meaning to get them some new pillows. The way Mikey had laughed so hard he’d snorted his drink. Leo’s squawk when it got all over him. The weight of Donnie’s arm on your shoulder when he’d leaned on you while laughing until he got the hiccups. His cologne, new, smells nice. You should tell him tomorrow.

(You can’t tell him. There’s no way for a best friend to look at the other with pupils shaped like hearts and be the same. You can’t tell him.)

Heavily, you sigh. It’s late. You can’t sleep.

You sit up. Get up off the couch. Stretch a little before exhaling and walking around a bit to try and work off some of this excess energy. The darkness of the living room isn’t so much, anymore, what with how your eyes have adjusted. You can see the pieces of the evening strewn about. A pizza box that Splinter’s going to find in the morning and yell at the lot of you for not throwing out. Raph’s teddy bear, leaning against the other couch where he’d been pretending he hadn’t been using it to hide his face in the scary parts. Mikey’s cup, half-full, forgotten in Leo’s panic to find paper towels. And—

—Donnie, standing in the doorway, bleary-eyed, arms folded. 

“Why are you awake?” he asks, voice tumbling over your ears like rocks on a riverbed. Guilt strikes you like a blow. He’s exhausted. You’ve woken him up.

“I’m sorry,” you say as an answer, tangling your fingers in the shirt you’d borrowed out of his closet. The shirt you always borrow. The shirt that’s half yours, now. 

Donnie’s quiet. You sink your teeth into your lower lip and hope he’ll shrug and go back to bed. Maybe, if he’s lucky, he’s got enough sleep juice in him that he’ll drift right back off and forget this happened. 

He doesn’t. “…Can’t sleep?”

The guilt burns your skin like sand in the wind. You smile and pretend. “I’ll be okay. Go back to bed, Don. You need it more than I do.”

He doesn’t. 

“…Please?” you try again. 

You’re met, instead, with a sigh. He rubs the back of his head where his mask would tie if he were wearing it. Lets his arm fall to his side—ah, except no. He’s holding out his hand, palm outstretched, inviting you to come close. When you don’t, his beak wrinkles. “Come here.” 

You take a few steps closer, but don’t take his hand just yet. “What are you doing?”

“Just come here,” he says again, curling his fingers a few times in an imperious grabby command. You come closer. He opens his tired eyes in a squint, mouth dipped into a frown, and his gesture gets more demanding. “Come here.” 

Stepping closer, closer, closer, finally you get within range. You realize he wants your hand the moment he loses patience with you, watching as he rolls his eyes and reaches out to encircle your wrist with strong fingers. They eclipse the bones there easily, tugging as he turns, pulling you out of the living room. 

“Don—” you start to protest, but he stops you with a breath.

“Stubborn,” he accuses, though there’s no heat to the word. The scoff is thick on the back of your tongue—Donnie of all people calling you stubborn—but you don’t let it out, knowing it’ll be too-loud in the pitch night. 

He pulls you into his room, the very room that had been such a sweet siren song to you earlier. He pulls you towards his bed. He pulls you in behind him when he settles in. He pulls you beneath his blanket. He pulls, pulls, pulls, until your chest is flush to his plastron and his arm is around your waist and his breath is in your face and your heart is in your throat.

It’s late. You’re not going to be able to sleep.

“…Go to sleep,” he says after a few seconds, doubtless able to feel the way your pulse is like a hummingbird against his skin. 

“Sorry,” you say in lieu of—anything else. You don’t dare try to say another word, unsure of what exactly would tumble out instead. Perhaps a sweet poem about the texture of his skin against yours. Maybe a lament that he feels the need to tuck his thigh between yours so so so close to where you wake in a pool of sweat dreaming of his touch. Or possibly a whispered confession that tastes like lightning and blood and sugar all at the same time; that you want this but not this, you want this but more. 

Gently, a forehead bonks against yours. Dark eyes open and meet yours, centimeters away. He studies you, and you watch the gears turn. More slowly than usual, lethargic even, because of his slumber. 

“You’re thinking too much,” he murmurs. Dumbly, you nod. “Need to talk about it?”

“…Yeah,” you admit, then, “…but I won’t.”

He doesn’t like that. A frown mars his beautiful, beautiful face. 

“Why?”

You swallow the incredulous laugh, the kaleidoscope of responses. They’re all irrelevant, impossible to share, save for one. “You should sleep.”

Donnie’s hand tightens, fingers curling in his—your—shirt in the small of your back. “So should you.”

“Yeah.”

“…”

“…”

“…I don’t understand.” The confession, rare, makes you sigh. 

“…I don’t either,” you tell him. And you don’t. Why did you have to feel this way for him? Why couldn’t it be someone easier that stole your heart? Why does it have to be the one person you can’t stand to lose? Why does he have to be so comfortable touching you like this and making it hurt even worse? Why can’t you stop feeling this way?

Why can’t you sleep? Why can’t you sleep? 

His fingers unfurl from your shirt. His hand dips beneath the hem, finding the skin of your back. Slow shivers spread like little earthquakes as he strokes along your spine, tectonic caresses that ripple and destroy. It's familiar enough a touch that you don't stop him; unfamiliar enough that it rends you inside out.

Donnie leans in. Ghosts his lips along your jaw. It’s not a kiss; you’re just friends, after all. But it’s a sweet caress that feels good, all the way to where he lingers at your ear, whispering there, quivering at the touch that's too close to something else to be fair. “Close your eyes.”

You have one rule: listen to Donatello. So you do; you close your eyes, let his nails drag down your back, let his mouth press warm into your pulse, let his chest rumble with churrs that fill the night air with something akin to a lullaby. His legs curl around yours, mixing, confusing, making the separation of you disappear. 

It’s… maddening. You hate this. You love him. You love him so much. You hate that he can do this so easily. 

“Shhh,” comes the gentle coo against your skin, like he can tell you’re pulling away from his intent. You obey that, too. Donnie says to be quiet, so you quiet. Thoughts, movements, words; all of them fall away at his beckoning. “Just like that. Good.”

Good, you think, feeling a little fuzzy. It feels good to be good for him. God. You’d be so good for him—but no. None of that, now. Not when you can pretend that these little presses of his lips are kisses. That the thickness of his thigh pressed to your shorts means something. That his hand scratching lines in your skin is something meant to claim as much as it is to calm.

“Making me work for it tonight,” you hear him mumble, half-conscious of the words, not sure if they’re real or part of a dream he’s built for you. “Good job, sweetheart. Just like that.” 

More brushes of his mouth. A slow glide of tongue. A lovely dream, you think, finally letting your muscles go slack. A dream of a Donatello who would hold you like this, talk to you like this. A Donatello who is more than just your best friend.

It’s late. Finally, warm and held and pulled into a sweet dream, finally, you sleep.

[thewisestdino]

🦋Dancing Butterflies🦋

[twinkletwirl]

🦋 Dancing Butterflies 🦋

Joined herd July 8, 2024

Dancing Butterflies was one of my most wanted ponies and I finally got her! I am so happy

[marejadilla]

Terra Chapman, "Butterfly Dance", 2023, watercolor & gouache. American painter based in Malta, Italy..

[nobodysuspectsthebutterfly]

Is your chosen username anything to do with Ray Bradbury’s story by chance? If so, Mildly ironic given the current stete of fandom

It's not the primary reason for my URL (that would be the Simpsons), but yes, "A Sound of Thunder" and the butterfly effect are among the many reasons I love butterflies. I don't think it's ironic re the current state of fandom though, I've long noticed GRRM citing the butterfly effect to explain how a small adaptational difference can lead to great changes by the end, since 2011, and particularly since GOT S5 and S8. So it's not surprising GRRM cited it again re HOTD, it's one of his standards along with Scarlett O'Hara's kids. Heck, he cited both things in an interview (regarding the question of whether HOTD was "canon") only 2 years ago. By definition the butterfly effect is just a single wingbeat that eventually makes a hurricane, but for GRRM it's a drum he's never stopped beating.

So, regarding the butterfly effect in GOT... let's give some examples. One of the butterflies GRRM used to talk about was that in the show, Khal Drogo killed Mago (in the epsiode airing June 5, 2011) whereas in ADWD (released July 17, 2011), Dany is captured by the khalasar where Mago is a bloodrider, and GRRM has said he'll be a significant character in TWOW. How the show handled it... they basically replaced him with Khal Moro, and tbqh, due to GRRM's own flat characterization of the Dothraki, it's hard to tell if there will be any difference between one brutish thug threatening to rape Dany vs another brutish thug with a slightly different name. Maybe TWOW will surprise us there, but if so, I really will be surprised.

Another butterfly (mentioned in the Mago link above) was that in GOT, Marillion never went to the Eyrie, and instead went to KL and got detongued by Joffrey. Thus, Marillion never became Lysa's favorite, and his plot with Sansa in ASOS/AFFC never happened. So Petyr didn't have anyone to blame for Lysa's murder... and yet in the show, he really didn't need Marillion, he convinced the Lords of the Vale that Lysa committed suicide. However, this was done by Sansa revealing her true identity to them... which cut off the Alayne plotpoint altogether. And that leads to what GRRM might call the greater "toxic butterfly" of Jeyne Poole not being an actual character in the show (she appears for half a second at Winterfell and never again), and thus Sansa took her place in the Ramsay storyline. But to be frank, I don't believe Jeyne's absence had any real "butterfly effect" on the show... even if had she been an actual character and Sansa's companion that Littlefinger made into a prostitute at one of his brothels, D&D never would have brought her out again to play "Arya". David and Dan deleted the Alayne plotpoint and Sansa's AFFC/TWOW storyline, and instead sent Sansa north to be married and raped because that's what they wanted to do with her character, not because they "had to" because Jeyne wasn't there. (And if they ever told GRRM otherwise, they lied.)

And that's the truth about the "butterfly effect" straight up. GRRM seems to believe a story must flow logically to its conclusion and thus removing even a small element changes that conclusion. But the truth is that D&D could have done whatever they wanted, dead/nonexistent characters or otherwise. Aegon and JonCon not existing is not what made Dany a mad queen and burn KL, they chose to make her a mad queen because that's the story they wanted to write. The bizarre nonsense of the show Dorne storyline is not because they removed Arianne, but because they wanted to make Ellaria both vengeful and uncaring about her lover's family. Smalljon Umber surviving the Red Wedding is not why Osha and Rickon died, it's because they wanted to kill off Osha and Rickon and add another heartless Northern villain. Flow does not truly apply, this isn't an atmospheric system and it's not a real history. Nothing forced D&D into doing anything except budget/orders from above/other business issues. It's fiction, it's the story they constructed, they chose to construct it that way, because "Creatively it made sense to us, because we wanted it to happen."

Now, regarding HOTD -- let me first provide a quote from GRRM from the "canon" interview I linked above:

George: And the more you read about history, the more inconsistencies you had. So I thought it would be fun to do that in Fire and Blood. And so when I’m relating what happened here, and I’m thinking about what can happen. Yeah, I… oh, this would be great. This would be really outrageous, it would be… and then, eh, it’s probably too outrageous. Here’s probably what… the more realistic version of it. And wait a minute, this version makes Fred the villain and Bill the hero. And this version makes Bill a villain and Fred the hero. And then at some point it hit me. Why don’t I give all versions? Cause history is uncertain. I’ll give all versions and it’ll be fun for me. I can put in all the really outlandish scurrilous things, the way Mushroom sees it, but I can also put in the things that are probably more…  Aziz: They’re sources, yeah.  George: And that worked fine for those who liked that thing, although some don’t. But if I was writing it as a novel, if I’d been writing this in the form of the books in A Song of Ice and Fire, like Winds of Winter, which I’m writing now. When I get to a chapter in The Winds of Winter and I know something’s gonna happen. How does it happen? What are the things? I think I could do it this way. I could do it that way. I have to make up up my mind. In Fire and Blood, I didn’t have to have to make up my mind, but Ryan and Miguel, when they’re adapting it, they largely had to make up their mind. 

So. In his (deleted) blog post, GRRM talks about the absence of Maelor being a butterfly, so that the Blood & Cheese scene didn't have Helaena choosing between two sons (only between a son and a daughter), and he thinks it's unlikely they'll have the Bitterbridge scene with the Kingsguard Rickard Thorne heroically trying to protect Maelor (who is torn to pieces by the crowd). GRRM said that this will affect Helaena once again, because Maelor's death is why she commits suicide in F&B and he says in the S3 outline Helaena does it for "no reason". Welp. First of all, it's kind of hilarious that the wiki immediately cited GRRM's blog post, because IDK if GRRM recalls that in F&B he gave multiple reasons for Helaena's suicide (several weeks after Maelor's death!) through the book's conceit of multiple historians:

because she learned she was pregnant after being gangraped in a brothel along with her mother per Mushroom's wild story of the "Brothel Queens" (though Gyldayn reasserts no part of Mushroom's story is credible)

because she watched two knights who had tried to rescue Corlys be hanged and this upset her, per Munkun (though Gyldayn thinks it's unlikely because she didn't know them)

because Mysaria told her that night that Maelor had died and how he died, per Septon Eustace (though Gyldayn says it's hard to understand what motive Mysaria would have had for doing so)

because she didn't actually commit suicide, she was pushed, because Rhaenyra ordered her murder (what the smallfolk believed, which per Mushroom was a rumor spread by Larys Strong, and note Gyldayn does not discredit him here)

So whatever reason they're choosing for Helaena's suicide in HOTD (I doubt it will remain "for no reason" between outline and script and broadcast), it may be hard to argue it's not textually based given the multiple choice options in the text. Plus, there's a possible reason in the book that is unmentioned by Gyldayn -- that only a short time before, Daemon had his murder-suicide battle with Aemond above the Gods Eye. Though it seems that the news of that battle didn't reach KL until a day after Helaena's suicide, book!Helaena was not a dreamer the way show!Helaena is. And the show has already drawn a connection between Helaena, Daemon, Aemond, the battle above the Gods Eye, and prophecies. So again, I very much doubt she will kill herself "for no reason" in the show. It may not be the same reason as in F&B, but there should be some reason.

But the fact that GRRM stated outright that the Maelor reason is the real one and therefore he's an important character who should not be butterflied away -- well, that blog post did what his book deliberately failed to do. GRRM wrote a book with so many multiple choice conflicting narratives, deliberately, because he didn't want to make up his mind, so in its adaptation the HOTD writing team chose to write a narrative that picks and chooses among them (and sometimes, yes, makes up new shit), because they did have to make up their mind (and not do a Rashomon framing device). And only now he's like "no that's wrong, there is a real true history there and I'm mad they're not doing it"? I'm sure it's frustrating to GRRM, but if it's a problem, it's been a problem since the very start!

I mean, I am deeply sympathetic to him being disappointed by an adaptation once again, especially if he thought being an executive producer would give him more power than GOT's co-executive producer status but again that was just an empty title with no power at all. And especially if he has been telling the HOTD writers truths the book didn't, only to be dismissed with something like "well you didn't say that in the book so we're doing it differently". And especially if he thought a particular scene was very fine writing and characterization, and is disappointed that the show is unlikely to broadcast it to a greater audience. Y'klnow... damn the NDAs, but someone really ought to get GRRM's opinion regarding Septon Meribald's broken men speech, frequently considered one of his best, and how they did something rather different in GOT... and lbr, the Rickard Thorne Bitterbridge scene was a nice bit of a knight actually keeping his vows for once, but it doesn't compare.

(Seriously, let's be real. We all know GRRM's real issue is with what GOT did to his legacy. HOTD is just the one he thinks he might be able to nip in the bud before they make so many changes... and if he can't, that's just the wound of GOT all over again.)

And I do agree that Helaena's suicide is important, however it happens. The KL riots being sparked by her suicide are also important. (Though I very much doubt they won't exist at all in any form -- again see that vision from S2E8 and the fact that it included a scene evidently from the Storming of the Dragonpit.) And Maelor is important as well for something GRRM didn't mention (perhaps he thought he couldn't get away with it, though evidently he couldn't get away with saying anything) -- the fact that his death is what causes Daeron's heel turn from a sweet kid to a war criminal, and thus the Sack of Bitterbridge and Lady Caswell's own suicide (imo far more emotionally moving than Thorne's stand against the crowd). But... those butterflies don't necessarily have to be "killed", as GRRM fears. Daeron (who at least we know exists in the show) can have a heel turn for a different reason. Bitterbridge can be sacked for a different reason.

If that's what they choose to do, because yes, Daeron doesn't have to have a heel turn at all, Bitterbridge doesn't need to be sacked at all, the entire southern campaign can be a different story, they can write anything they want, as faithful to F&B as they want or otherwise. But GRRM's greatest worry seems to be that a less-than-faithful adaptation won't be a "logical and convincing" story where all the points lead to a conclusion, and... I'm truly sorry to say, that does not necessarily follow. Whatever conclusion HOTD reaches will be the sum of whatever came before. If some parts aren't built up as well as they should be, lbr F&B's Dance has had the same critiques for years. And again, the multiple-historian conceit, as well as it being a history and not a POV narrative, has never helped this issue, because it lead to one of F&B's greatest faults -- that it is not consistent with itself. (Unrelated to the Dance: see Alysanne's attitude towards Baelon inheriting at the end of the Long Reign chapter, vs pages later in the Heirs of the Dragon chapter. "You will be a great king" vs "a cock is not essential"... these chapters were written years apart, and not edited together nearly as well as they should have been.) If GRRM has a different story in his head that is more consistent than was put on the page, again this may be too little too late for all the work already put into the show.

However... I have a very strong feeling that it's not "Maelor the missing" or even whatever's happening with Helaena and the riot, or Daeron and Bitterbridge, that's GRRM's real worry about "toxic butterflies". I think the subject he really wanted to talk about, and knew he absolutely could not (and yet perhaps hoped that post could pressure HBO about), is the absence of Nettles. Her absence would greatly change the relationship of Daemon and Rhaenyra, who we've seen HOTD has chosen to portray as an OTP, a toxic one perhaps, "always meant to burn together". But it was already portrayed as odd in F&B for Daemon to lose his head chasing after a teen girl (if IMO entirely consistent with his personality), but with HOTD's apparent Daemon/Rhaenyra plot... Well, see S2's process starting with him leaving her in ep2, to their reunion in ep8 convinced she's the queen chosen by the gods... is Nettles going to come in and blow that up? Make Daemon abandon Rhaenyra again? It could be told in a "logical and convincing" way, I still think it should be, but at this point it's hard to see how it would be. (And looking at GOT in comparison, Nettles does not have either the textual value nor the fanbase that Brienne has, and just look how they ended their toxic OTP of Jaime/Cersei, despite the books.)

But plot and relationships aside, Nettles is a character whose meaning reaches well beyond F&B, to affect ASOIAF itself. Her legacy regarding Targaryen exceptionalism, to the subject of who can really ride a dragon, her legacy regarding the Vale's Burned Men... all these are elements that may be extremely important in TWOW and ADOS. So if GRRM has been trying to convince Ryan that Nettles is the most important character that should not be eliminated, and yet has been shut down... well, no wonder he's been depressed about his own legacy.

And again, I'm sure it's the deeper wound of GOT's ending that's been truly paining GRRM regarding his legacy, that their ending that may be the only thing anyone ever sees. Perhaps he was hoping that HOTD could help correct the issue. That its foreshadowing would help readers understand the truth, what happens in TWOW and ADOS, the real ending. But... again I'm deeply sympathetic, and I'm sorry HOTD couldn't be that for him, but the truth is no other television show can be GRRM's legacy in that way. The only thing that can correct GOT is his own words. The only thing that truly matters is him finishing TWOW and ADOS... and it's been 13 years since ADWD, 5 years since GOT S8. I want to tell him, so much, fuck the butterflies-- as you've said so many times yourself, the show is not the books. Leave them be in their other universe and focus on your own, please. Please.

Because, again, let's be real. If GRRM does finish his grand epic and completes his legacy, his last word on the subject... if this makes HBDiscFlix want to do a GOT remake once they have an actual story to adapt "correctly" (which they still won't)... you know that when the final season of Game of Thrones Brotherhood comes out in 2050 and Tyrion rides a dragon despite having no Targaryen ancestry... all the clickbait sites and YouTok will have vidposts like "The Missing Character from House of the Dragon - What You Don't Know About This GOTB Development!" It won't matter what HBO did or didn't do with HOTD. It's just GRRM's own words in the end... if he has them.

[neechees]

common windmill butterfly?

[image description: semi realistic digital drawing of a pale person with black hair in fancy shawl regalia, standing with a light smile. Their shawl is pink satin with two black ribbons sewn all along at the bottom of the hem, and white fringes. A white laminated paper titled "Red Thunderbird Pow wow" and the number "858" printed in the center of it is pinned to the shawl. The dancer's hair is wrapped in pink hair wraps and tied at the ends with pink shell, and black ferret fur dangling at the end of it. Their underdress is also pink satin, and their waist is covered with a black leather mirror belt, and the front half of the vest sits in front of their chest. The vest, moccasins, choker, and leggings have a design mimics the pattern of the butterfly wings. They wear a black eagle feather behind their head. end description.]

(send me a butterfly or moth species and I'll draw a fancy shawl dancer inspired by it)

[neoniinui]

"i fell deeply in love with abnormality a long time ago"