#i LOVE LOVE LOVE the parallel with River Song

[cheer-me-up-scotty]

ok the new season of DW SLAPPED REALLY HARD!!!

looking forwards to more shenanegans *-*

I need Rose to be a companion SO BAD!!!!!!!!!!

also, the Doctor better go looking for his new hubby or ELSE

[nobleriver]

The dead stay silent...and we must wait.

[hihogandalfaway]

if I had a nickel for every time a red-headed companion of the Doctor had a curly-haired daughter who goes by a name beginning with R that is different to the one she was given at birth, significantly changed her appearance/presentation in a plot-relevant way at least once, was born with Time Lord-y attributes due to her mother's travels with the Doctor, and willingly gave up said Time Lord-y attributes as a lifesaving measure...

... I'd have two nickels. Which isn't a lot but what the fuck

[grxygreenrain]

they make me sick !!!!

[05raine]

“When you love the Doctor, it's like loving the stars themselves. You don't expect a sunset to admire you back. And if I happen to find myself in danger, let me tell you, the Doctor is not stupid enough, or sentimental enough, and he is certainly not in love enough to find himself standing in it with me!” -River Song (Doctor Who: The Husbands of River Song)

Inspired by this post by @ibenology

My rambling about this below 😎👍

These three pairings actually hurt me in how similar they are, not to mention how River’s quote here could apply to both Hob and Mobius as well as of course- herself. The three of them(River, Hob, and Mobius) all fall for this seemingly timeless ethereal being; the sunset that they don’t expect to admire them back.

But the quote I referenced above is shortly followed by The Doctor revealing that he’s been next to River this whole time, and that can kind of tie into both Morpheus and Loki in how they admire their partner back in their own repressed way. River, Hob, and Mobius are all under this assumption that there’s no way that their affection will be reciprocated, but they don’t realize that The Doctor, Morpheus, and Loki have been by their side through it all and it just- UGH. THE PARALLELS BREAK ME.

Anyways, if you can’t tell I’m not used to drawing real people but I did my best to make them look like the actual actors while somewhat retaining my art style 💀

[lina-studen]

"something floral": literature student blabbering about the usage of flower symbolism in "nevermore", how it ties to the theme of insanity and a little bit (a lot) about shakespeare.

from lenore's perspective, flowers are closely associated with isolation caused by her trauma and supposed "hysteria". floral pattern wallpaper accompanied her loneliness for days, months, even years. image of the flowers signaled that lenore's position would remain unchanged, that she was stuck, that she would continue to slowly loosing the clarity of her mind.

having torn the wallpaper off the walls, lenore believes that she will never see this image again, but flowers continue to accompanying her. lenore sees them again during her first meeting with annabel lee. and during the last one, too. she may have managed to get out of her lonely room, gain more strength in her legs, find a new friend, but lenore is still trapped. she's the daughter disowned by her parents, a stain on the family reputation that must be hidden forever. the image of flowers doesn't let her forget about it.

similar symbolism is also not alien to annabel lee. episode 66 is interesting in particular, because it directly quotes ophelia's monologue. I'm a big fan of shakespeare, it was he who instilled in me an interest in floral symbolism. a year ago, for a conference on foreign literature, I wrote an article about flower language of "hamlet". it's not available in english, but I'll list down some points that I considered relevant regarding "nevermore".

• rosemary can serve as a keepsake between lovers and also between the dead and the living. it could be seen at both weddings and funerals. in the old days it was also believed to be helpful in mental illnesses treatment.

• pansies, just like violets, symbolize innocence and devotion. ophelia doesn't consider the people around her worthy of violets, since she blames them for the death of her father.

• rue is a symbol of eternal suffering; grieving over her murdered father and the loss of her beloved hamlet, ophelia leaves some of the flowers for herself.

• the image of daisies has a close connection with the concepts of innocence, fidelity and eternal love. in shakespeare's tragedy, this symbol is overshadowed by the fact that in the world around ophelia there's no place for these beautiful things. for "nevermore" the symbol is also not so positive, since the readers are already familiar with daisies. they were on that wallpaper in lenore's room.

it's impossible not to note that annabel lee recites the monologue while in the bath, in the water. ophelia decides not to resist the river flow. her life turned into a tragedy: she was left without a father, her lover has seemingly lost his mind. her own sanity is also called into question. ophelia sings cryptic songs, goes into the field to weave a wreath, gives flowers to other characters. in the eyes of those around them, hamlet and ophelia seem crazy, while being the only sane and honest people among them. there's no place for tender, innocent ophelia in a cruel, deceitful world, so she drowns.

annabel lee also reflects on how both she and lenore are considered madwomen. her meeting with "leo" is accompanied by floral pattern on the annabel's dress. their madness is contextual, they both are perfectly sane, but don't fit into the system that could be leading to real madness with time. "all madwomen die twice. at least twice".

now about the arboretum. it obviously has a lot of flowers, but in my opinion this place is interesting in a different context. lenore and annabel visited the arboretum twice to discuss upcoming plans and such, and there are many parallels, both visual and narrative. not much time has passed since last time, but their situation has changed. they seem to look on their past selves from the upper level, having their conflict more acute now. I'll make a more detailed post about it later.

and now I'll just focus on how the characters in this arboretum full of roses behave as lost and confused as in the phobia-inducing flower labyrinth from earlier episodes. “the closer you get to beautiful flowers, the closer you get to their thorns,” says duke in episode 38. the flower imagery haunting the main characters doesn't let them forget that their sanity is always on a verge of slipping. and once a flower falls from its stem, it cannot be fixed.

p.s. guess which writer’s works I chose for a new article this year?

[fruitsofbeingafraid]

is it just me or are a lot of the songs from beyond beyond beyond reqlly reminiscent of old crane wives songs?

most people have made the connection between river rushing and steady steady- this post explains it super well- and most people know that scars is a response to never love an anchor, but i feel like there's more.

higher ground feels like a pretty obvious connection to me: rockslide or sleeping giants. all 3 are about big changes in your life and feeling them coming, and all 3 use avalanche metaphors.

another obvious one in my mind is mad dog and the hand that feeds. both are canine metaphors to describe how much it sucks to be living in our capitalist society. the difference is the hand that feeds is about actively fighting against it and mad dog is about feeling trapped within it.

arcturus beaming and new discovery just feel connected- and thinking more about it, it makes sense. both are about continuing with your life despite being hurt and wondering what's in your future.

i also noticed lines in red clay that are reminiscent of keep you safe. the repeated "take a deep breath and turn to be brave/harvest the fruits of being afraid" really reminds me of the "no amount of waiting will make you, make you brave. no amount of fear will keep you, no amount of fear will keep you safe."

i have less concrete ideas about the rest of these but predator could connect with once and for all. they're both about being stuck in an unhealthy cycle of making the same mistakes.

say it and easier could connect too, but this one feels less solid- the crane wives have a lot of breakup songs. the reason easier sticks out to me as say it's parallel is the first lyric in say it: "did the real me corrupt the fantasy" which links to "if i was someone else, would it be easier".

bitter medicine could be paired with allies and enemies- the lyric "the words i speak are wildfires and weeds, they spread like some awful damn disease" fits right in with the message of bitter medicine- that the singer can't control what they say and doesn't want to hurt people.

HOWEVER. bitter medicine could pair with metaphor for this same reason- they're both about not trusting your own words, and putting up a fake persona to be more likable.

i'm currently undecided on songs for black hole fantasy and time will change you. the moon will sing is what i'm currently considering for black hole fantasy but even then, it's only because both songs compare a lover to a celestial object.

anyway, i did NOT mean for this to turn into an essay. i hope it was somewhat coherent! if you have any insight please share it i would love to talk about this. i may be just a little bit hyperfixated.

[ineffable-rohese]

Neil's picks for Aziraphale & Crowley's Angelic Playlist were Cry Me a River (Julie London), The Book of Love (Peter Gabriel), and The Show Must Go On (Queen).

Three songs. Two about the aftermath of a break up, and one about coming together in love. So very clearly, we can infer a Crowley POV song, an Aziraphale POV song, and a song for the two of them and their happily ever after. (Song lyrics for all three after the cut for reference.)

The Book of Love is a perfect wedding song. It's a song to play under two people declaring their desire to spend eternity together. With lines about dancing and reading and it's perfect. It's originally a Magnetic Fields song that was released in 1999. Peter Gabriel recorded a cover in 2004 for the movie Shall We Dance about which I know nothing but the Wikipedia summary. But since we know how movies are important here... It's a standard rom-com with a bored Richard Gere secretly taking up ballroom dancing after following a pretty lady from the train (J-Lo). His wife (Susan Sarandon) thinks he's cheating, turns out nope, just dancing, drama ensues, he gives up dancing but eventually his wife becomes supportive and he realizes he loves his wife. And dancing. And they live happily ever after, with both of them getting what they want. Maybe we can draw some parallels here? But I think the song speaks for itself better than its connection with what sounds like a standard early 2000s romcom.

The individual songs are where it gets interesting.

Cry Me a River was first released by Julie London in 1951, but became popular after she sang it in the 1956 film The Girl Can't Help It starring Jayne Mansfield as an aspiring rock 'n roll singer. Again, relying on Wikipedia here, but there is an interesting bit about a blossoming forbidden relationship, wiretapped phones, and someone editing the recordings to keep the love affair secret. But again, it's probably a stretch to look too deeply into the movie.

The song has a very classic jazz feel. It's from a decade and a half later, but if you were, say, an angel who enjoyed Moonlight Serenade or A Nightingale Sang in Berkley Square, it has a similar feel. You definitely wouldn't say it's bebop. The lyrics are about someone who was in love and had their heartbroken. Their former love (who never shed a tear over the break up) has returned and wants to make up. The singer essentially says "you love me? Prove it. Cry me a river like I cried when you left." Which, fair, but in our context, ouch.

The Show Must Go On is a Queen song, and we know how much Queen we hear in association with Crowley in particular. But this just isn't any Queen song. It was written by Brian May about Freddie Mercury's struggles as he neared the end of his life, and it was recorded in 1990. (Coincidentally or not, the year Good Omens was published, a book co-created by friends, one of whom would die too soon, and the other of whom would reflect on his friend's end of life struggles as the story was told more fully. Yes, I'm crying about this.)

In the song, the singer is fighting to reach a place of freedom, away from empty spaces and heartbreak. They are fighting with pure will, and even though their heart is breaking they smile and carry on because the show must go on.

What I really appreciate here with the POV songs, is that they are cross-coded. Queen is Crowley-coded, but the song about someone fighting through heartbreak to achieve something vital, while forcing a smile for the audience? That's absolutely Aziraphale in Heaven. And the 40s/50s jazz ballad is absolutely Aziraphale's style, but the jilted lover who may be willing to give their love a second chance but needs to see proof that the lover cares as much as they do is Crowley all the way.

It's almost like... Well it's almost like even in their separation, they are each carrying a piece of the other. The book of love has music in it, indeed.

The Book of Love

The book of love is long and boring No one can lift the damn thing It's full of charts and facts, and figures And instructions for dancing But I I love it when you read to me. And you You can read me anything.

The book of love has music in it In fact that's where music comes from Some of it's just transcendental Some of it's just really dumb But I I love it when you sing to me And you You can sing me anything

The book of love is long and boring And written very long ago It's full of flowers and heart-shaped boxes And things we're all too young to know But I I love it when you give me things And you You ought to give me wedding rings

Cry Me a River

Now you say you're lonely You cry the whole night thorough Well, you can cry me a river, cry me a river I cried a river over you

Now you say you're sorry For bein' so untrue Well, you can cry me a river, cry me a river I cried a river over you

You drove me, nearly drove me out of my head While you never shed a tear Remember, I remember all that you said Told me love was too plebeian Told me you were through with me and

Now you say you love me Well, just to prove you do Come on and cry me a river, cry me a river I cried a river over you

The Show Must Go On

Empty spaces, what are we living for? Abandoned places, I guess we know the score, on and on Does anybody know what we are looking for?

Another hero, another mindless crime Behind the curtain, in the pantomime Hold the line Does anybody want to take it anymore?

The show must go on The show must go on, yeah Inside my heart is breaking My makeup may be flaking But my smile, still, stays on

Whatever happens, I'll leave it all to chance Another heartache, another failed romance, on and on Does anybody know what we are living for? I guess I'm learning I must be warmer now I'll soon be turning, round the corner now Outside the dawn is breaking But inside in the dark I'm aching to be free

The show must go on The show must go on Inside my heart is breaking My makeup may be flaking But my smile, still, stays on

My soul is painted like the wings of butterflies Fairy tales of yesterday, grow but never die I can fly, my friends

The show must go on The show must go on I'll face it with a grin I'm never giving in On with the show I'll top the bill I'll overkill I have to find the will to carry on On with the show Show Show must go on, go on, go on, go on, go on, go on, go on, go on

[yazthebookish]

I posted my take on the Lightsinger theory and Gwyn's "luring" powers theory on Reddit two days ago but thought I'll reshare it here (with some additional thoughts)

The only canon information we have on Lightsingers:

Nesta winced. Cassian went on as she scanned the bog, "There are lightsingers: lovely, ethereal beings who will lure you, appearing as friendly faces when you are lost. Only when you're in their arms will you see their true faces, and they aren't fair at all. The horror of it is the last thing you see before they drown you in the bog. But they kill for sport, not food."

Does this correlate with anything Gwyn did in ACOSF? The answer is no.

I am not saying it is impossible for her to be a Lightsinger though where things stand it's unlikely in my opinion, but I'd attribute any potential powers either singing or glowing to her River Nymph heritage. We have no idea of her powers and she's also half High Fae of course she'll have powers like every other High Fae.

I think a lot of the "canon evidence" are different interpretations of the text but sometimes try to present itself as concrete evidence or proof when it isn't. Some attribute her singing during the services as the cause to Nesta having vision of the Prison and the Harp, but that also means we will have to ask what connection is there between Lightsingers and the Prison/Harp? And some believe it's the lyrics that trigger the vision as they're written in the ancient language and "Nesta saw what the song spoke of". Some believe Nesta power reacting to the crackling energy around Gwyn is a sign that she is a Lightsinger, but like... that's an indicator she has powers just like how Nesta in a later chapter felt Merrill's ornerry power. How is crackling energy means it's a Lightsinger when we never saw them? Powers recognize each other sometimes, just like how Feyre was surprised when Eris was able to detect a cold flame in the Dagger Nesta forged when it was given to him as a gift (like calls to like, Eris also has flame power).

In the bonus chapter, it's described at one point that the Shadows danced with Gwyn's breath as if it heard some Silent MUSIC (emphasis on music and not song). What was referred to as Music between Souls? The mating bond. Interestingly enough it was that same night when Nessian consummated their bond and they were connected by a music between their souls. So that could be a hint, and at the end of the scene Azriel hears a distant beautiful singing and the shadows sing back, hard to tell whether if it's Gwyn, who went back to trying to cut the ribbon, starts to sing or it's also another wording for a hint at the mating bond (also called the Song of the Soul).

I'm more keen to believe it's the mating bond because there are far more parallels and similar mate language to support it across all her three series and if someone is going to tell me "but Lorcan's chest glowed after he took the blood oath from Aelin—" my love context matters in this case and it doesn't invalidate the 10+ examples I can pull out of similar mate language like in the bonus chapter.

To ADD, for Azriel to be lured to the library at 7pm because of said Lightsinger singing, he has to be able to HEAR the singing for the power to influence him and Azriel didn't hear any singing, he was conscious and aware of his actions. It was mentioned Nesta sang with Gwyn at the services frequently and she didn't make any comments on a vision being triggered or her constantly seeking out Gwyn so there are holes in those kind of conclusions—again, because we never see Lightsingers on page.

"But when he arrives to the library it chimed 7pm!! That's when they sing for the dusk service" welp that's another hole in the theory, it depends on Azriel being drawn to the library because of Gwyn's singing but if he showed up at the library and they don't sing until 7pm then before the clock chimes at 7pm, they weren't singing so... not a convincing answer. Also, Clotho is usually seen during those services and Azriel still found her at her desk.

Early on when ACOSF came out, some readers made connections between Lightsingers and Shadowsingers and made the assumption that Lightsingers are the Shadowsingers' Light counterparts. That's why you had people musing about Azriel's mate being a Lightsinger, but canonically Lightsingers are evil once we go back to the text but we don't even see them to know for sure how they wield their powers or if they even sing because Shadowsinger Azriel doesn't need to sing when he uses his power.

In an Elain book (in this scenario it's her and Azriel), I don't see any purpose of Gwyn being revealed as a Lightsinger or anything about her powers because it'll be used as a plot device for an Elain/Azriel romance rather than contribute to Gwyn's own growth and that's why I don't like it. It will have implications on Nesta and the Valkyries dynamic too. If that's the case it will mean Gwyn will need more page time in an Elain and Azriel book to tackle something like that, especially if they're going to "help" her since that's the reasoning I see often—that she's not evil but she doesn't know it and if she did they will help her but like... why? To make her realize she has been keeping them apart or that she wanted a necklace she didn't even have any clue about.

Given Gwyn's history who even at the end of the book said despite training it didn't erase the fact that she let her sister die, she is still dealing with survivor's guilt, she still refuses to wear the priestesses stone, and also her desire to leave the library and see the world (which we didn't see yet). She has a lot of promise as a character than be a plot device for someone else's relationship.

The way I see it, Gwyn's theoretical powers is used to absolve Azriel of any accountability for his actions (ala Necklacegate) because it's not a good look on him, so it's better to pin it on someone else by saying he was lured against his will (since I often see that the reasoning behind her presence in the bonus chapter is to hint at her powers).

So if I have to read about Gwyn dealing with her powers whether they're good or bad, I'd rather see it from her point of view and for it to be beneficial for her own personal arc and healing journey. My problem isn't her having questionable powers (which I don't mind because many SJM characters had questionable powers but used it for good), I don't want it to be used as a plot device for another couple just to smear her as a character and clear the actions of the other male character so his "love interest" doesn't blame him for his actions.

Whew, this was long but I adore Gwyn and I am not a fan of the current version of the Lightsinger theory. I think even if SJM makes it happen, it would probably play out way differently than the fandom expects.

Also, it's not in SJM's style to use other woman drama in her romances. The other women are often 💀 or insignificant past lovers. I don't see her taking that route with Gwyn at all.

She could be half Asteri and I would still love her and be eager to explore her powers and story, I just don't like it being used to further another couple's conflict or whatever (they already have Rhys and Lucien).

And no, I hate the idea of Gwyn being controlled by either Koschei or Merrill because it takes away her agency and the suggestion here is about her doing things that harms others, how will that not have any implications on Nesta and Emerie and the trio's healing journey? Given her own tragic history and the fact that she was helpless and powerless to help her twin sister and she's still dealing with survivor's guilt over it all.

"Why did you sign up for this, then?" Nesta drank the glass Gwyn extended. "If you already have mind-calming exercises you're accustomed to?"

"Because I don't ever want to feel powerless again," Gwyn said softly, and all those easy smiles and bright laughs were gone. Only stark, pained honesty shone in her remarkable eyes.

Her being controlled is putting her in a powerless position again because she has no choice but to do Koschei or "evil" Merrill's bidding that could potentially harm Nesta and the others. I despite it.

And if I have to read about any comparisons between Gwyn and Ianthe as proof that priestesses can be evil, I'll go insane.

Also, if Gwyn's power can influence anyone through her singing, it would've influenced every single person in the services. It would have influenced other members of the IC. This particular theory is weak and depends one interpretation of the text that tries to present itself as evidence of an evil creature that never even shows up on page.

Gwyn wasn't added in the bonus chapter by coincidence. Sarah confirmed she left crumbs all over the book and specifically his bonus chapter, and what we speculate may or may not be confirmed in the next book so you can't dismiss the bonus by saying it has no relevance when the author said she left crumbs for readers to theorize about, which leads me to believe she wants us to come up with different theories until she publishes the next book where we'll know for sure if we nailed it or not.

[two-white-butterflies]

parallel lines | d. targaryen | part five

Description: An ordinary middle school teacher moves to a desolate town with her fiancee. After suffering episodes of vivid nightmares, she realizes that his uncle looks exactly like the man in her dreams.

Pairings: daemon targaryen/reader, aemond targaryen/reader

Trope: Reincarnation

series masterlist |

<< previous chapter

Man who makes a beast out of himself got nothing to lose Sold my soul long ago, nothing left to choose I'm tired, tired of singing the blues - Tired of Singing the Blues, Lana Del Rey.

"There's nothing rich people love more than free things," Jacaerys mused watching his relatives fight over freebies, some were exquisite works of art like that little Monet that his uncle brought or the jade mirror from the Ming Dynasty. "You're not going to join them," you raised an eyebrow - taking a sip of your champagne.

The younger boy stared.

"I still love my life, unfortunately." he chuckles. "We've got a very eccentric family, I hope that this isn't too new for you." Jacaerys apologized, walking you into the other room. "I don't think I know what normal is. I'm an orphan, my mother died pretty young." you admit, biting your lower lip. "Father?"

"Couldn't be more bothered to acknowledge my existence." you shrug, feeling a familiar presence behind you. "Aemond," Jacaerys greeted with hidden rigidity - the atmosphere between the both of them was tense. You were a good judge of character, and you could see that neither of them liked each other.

"Jace," your boyfriend smiled falsely.

Aemond was a shadow in his younger nephew's presence, Jacaerys the golden boy - could do no wrong. While Aemond struggled with being accepted in the school of his dreams, Jacaerys was welcomed - and he still had the nerve to decline the invitation, instead choosing to study in some stupid university in the countryside.

"It's been a while," Jace added, attempting to keep the conversation civil. "Five years? Is that how long it takes to study college?" Aemond undermined his rival. "I took a gap year," Jace turned his head in your direction, trying to put a finger on why you looked familiar.

"- toured the world, I even saw the Arc de Triomphe." the younger man smiles. Aemond says nothing in return - as if sensing the awkwardness, Jace chuckles.

"Well, I think this is my cue to say goodbye." he raised his glass, retreating into the foyer.

(Harrenhal. The Past.)

"I don't know why you keep me here. To prolong my agony?" you rasped at your older sister. Harrenhal had big rooms and soft mattresses that you could just sleep in for thousands of years. You laid in the beds in the morning, feeling tired and sucked dry of life, but in the night - you couldn't sleep.

Memories of what happened months ago came flooding back. Haunting you awake. It felt like you were standing on a pile of bodies. You turned to look at your older sister again, her eyes were once filled with warmth at the thought of you - now they were dim.

"I'll keep the windows open, if you hate your life - then jump - like that niece of yours, Helaena." she announced in a tone that wasn't sad nor happy. Your eyebrows merged into each other. Princess Helaena was dead? But you weren't bothered - you didn't know her.

A bitter chuckle escapes your mouth.

"You took my life into your own hands, to play with as you please. Now that you're tired, you want me to pretend that it was my own agency that led me here?" you argued.

"Perhaps you and I are the same." Alys responded.

"I had a dream before you were born that Aemond would come and free us, save us from our father's abuse. I know better now than to believe my visions." she turned away, slamming the door shut - leaving you alone.

Dreams were portals of the world - you could see the past, present and future in them. Alys Rivers could vividly remember the man in her dreams, his warm purple eye and long silver hair.

The Prince would come and his song will be that of Ice and Fire. From his blood would come the prince that was promised, opposite of him in temperance and demeanor - you almost wouldn't believe that they came from the same tree, but they were and the prince's breath would save them against ice.

"And when will you return, this time?" Alys leaned on the doorframe, staring at your frame that was frantically packing her bags. "Princess Rhaenyra tells that she needs my help, I can't deny her." you smiled.

"She's Queen now - and she's asking you because she needs you to fight in a war." Alys' lips turned thin at the thought of losing you. "Rumors have swirled around, they believe that she killed Harwin." she proceeded, trying to persuade you to stay.

"You told me that Larys killed our brother." you froze slightly. "I don't want you to leave, stay please - I've been dreaming about salvation. If you stay here, we'll be safe." your older sister pleaded.

"I'm never in your dreams, almost like I'm not supposed to be here. I need to save the Queen's soldiers, to ensure that she wins in this war. You tell me that her heirs are fathered by Harwin, shouldn't we protect our blood?" you inquired and your sister takes a deep breath. There was no stopping you.

"Promise me that you'll stay safe," she pleaded, handing you a small necklace that she enchanted. "I will," you promised - squeezing her shoulders as a way to show that you weren't kidding.

Like a ghost, you didn't even realize that you were sitting on the dinner table. "Columbia University is pretty hard, what did you major in again?" Rhaenyra inquires, taking a bite of her steak.

"Mathematics, it was supposed to be my pre-law course but life happened and I had to change a few things." you smiled, eyebrows merging with each other in confusion. What the hell happened? Why couldn't you remember anything before this?

"Ooh being a lawyer is the coolest. It's uncommon to see someone with Math as a pre-law, you must be really smart." Helaena adjusted her glasses and the people around you agreed. "Never in a million years did we expect that Aemond will end up with someone like you." Harwin articulated and Aemond rolls his eye.

"What's that supposed to mean?" he chuckled, trying to make it seem like a joke. "I always saw you with someone weird, like that Claire girl that does music now." Harwin quickly rebutted.

Alicent knocks on wood three times. Rhaenyra giggles, "Put some respect on that girl's name, isn't she engaged to a billionaire?" she inquired and Aemond shook his head. "They broke up." he confirmed.

"Three kids and he just throws her away like nothing."

"It is not nice to gossip," Alicent interrupts their conversation. "Gossiping is done by small-minded people." she insisted and Rhaenyra looks away. They used to be close friends, Alicent was her former-babysitter - then somehow she had an affair with her father.

"So are affairs, but none of us complain." Rhaenyra grumbled and the other woman pretended not to hear. "You're the one to talk, didn't you cheat on your ex-husband with mister hunk here?" Aegon pointed at Harwin and Daemon's eyes widened.

You know what they say - a shot of whiskey for luck, and a bottle of whiskey for disaster. "Oh my god I can't believe we're talking about this again. I didn't ruin a family and as far as anyone is concerned, Laenor was totally fine with it. Weren't you, Laenor?" Rhaenyra turned her head at Laenor's direction.

"I liked it, actually." he hummed watching the drama unfold. "Yeah cuz when you have a mistress it's alright, but when it's my father - suddenly, my mother's the fucking devil." Aegon insulted.

You took a deep breath, what were you to make of this situation.

"So you do agree, that your mother was a mistress?" Rhaenyra said smugly, Daemon bit back a chuckle. "Can we all calm down?" Harwin placed his hand in front of the siblings. "This is supposed to be my son's birthday, and we have a guest here. A little decorum would be nice." Harwin tried to decrease the tension.

"Yeah, whatever." Aegon stood up to leave. He hated his fucking life.

Shortly after Aegon's outburst, you and Aemond decided to leave. "That was the most eventful birthday party that I've ever attended." you chuckled, fastening your seatbelt.

"I can't believe that they decided to pull that shit while you were there." he complained, driving out of Rhaenyra's driveway.

"That's family, I guess." he shrugged.

"- and we're never going back." he added

next chapter >>

[highladyjane]

So... it's 3am and I might be delirious and delulu, so this'll be a very quick dive, but I just couldn't help but see some parallels and connections that I felt the need to share no matter how far-fetched😅

If/say Azriel is Death & darkness aka Hades.

And Elain is the lovely fawn of Spring aka Persephone...

And Mor is Leuce who was Hades' first love who had similarities with/was friends with/an epiteth of Persephone much like Mor and Elain has Golden/Sunshine etc. similarities

Then could our resident red-headed nymph Gwyneth be... Minthe?

And diving deeper... Cocytus, which literally means "lamentation" (which is, you know, also a special kind of song 👀), the underground river/lake where Minthe is from...

And just who lives in an underground lake? Koschei.

I don't really want Gwyneth to turn out to be a villain, and I especially do not want her to join the drama and give Gw*nrie/s and the necklace fiasco anymore validity than they're due, but she does have suspicious qualities that I know many are already familiar with...

All in all, this just further gives quite another meaning to secret, lovely beauty in my eyes 👀

[coniferkrow5]

Lemme know if anyone's pointed this out yet BUT

Although the songs were released roughly twelve years apart, I love how Rushing River compliments Steady, Steady so incredibly well.

In Steady, Steady, we know that the speaker sees marriage as a prison and is adverse to the finality of it ("Most of our 'for good' just makes me ache to be alone /How long is forever?"). But, near the end of the song she become more content with the idea so long as the marriage is on her terms ("I won't say I do until you promise me...we can stay young, and wild, and free"). Throughout the song the speaker talks about running away from her marriage, but the attempt at a compromise so close to the end, I think, shows that hasn't happened (yet). The final line "We weren't ready" definitely feels like a cliffhanger, though.

Which is where Rushing River comes in!

I see the song as a sequel to Steady, Steady where the speaker finally comes to the sure conclusion that she's going to leave her marriage. The repeated imagery of a river finally breaking a dam is an obvious metaphor for the speaker being done and finally leaving her relationship. What ties the two songs together for me, though, is the parallel of two repeating lines in each respective song: some variation of "Steady, steady, you know when you're ready" in Steady, Steady and "Hold yourself steady/Whenever you're ready" in Rushing River. It's such a fun parallel between the two songs that could totally be in there purely by coincidence. But I really like to see it as a complete narrative of the speaker debating leaving the confines of marriage in Steady, Steady, and then finally making her decision to escape in Rushing River (albeit 12 years later).

(Anyways, this is definitely far from being one of my usual posts, but those lines in Rushing River made me go "Wait a damn minute..." so I had to give my two cents. Literary analysis is 100% not my forte, so sorry about this being pretty mediocre :/ But I would love for this to spark a more in-depth conversation about these two songs. ☺️)

[kuwdora]

Saturday Morning Vid Recs - Video Games

@poetikat ! So you like video games. WELL! I come bearing video game recs from around the Internet, deep into old vidshows of yester-vidding fandom-year, and my bookmarks and recs posts. There’s always way more video game vids out there, esp on AO3 - search for your video game fandom and the Fanvids tag and see what comes up in your results.

Some of these vids date back a decade or more and some are very recent. They’re all awesome and so interesting to watch.

Video Game Vids!

America by @beccatoria. Mass Affect: Andromeda. #colonialism

Hard Times by absternr. Portal. I laughed and cried. Gonna make you wonder why you even try.

Riverside by milly. Tomb Raider (2013). I see how everything is torn in the river deep", Lara PoV. Vid for the 2013 Tomb Raider game.

River by milly. Tomb Raider (2018) This is so fucking gorgeous. Stand and deliver. / Made for VividCon Challenge "Full Circle" in 2018, a sequel/parallel to "Riverside". Reverse Dance by @aurumcalendula. Dishonored. A great character vignette! Billie through the years.

Pop Galaxy by AbsoluteDestiny. Super Mario Galaxy. ⭐️⭐️⭐️⭐️⭐️. I’m really in love with the use of the camera angles from the game, and this pop medley is very much a banger of 2013. It’s so much fun.

Scream and Shout by @rhoboat77. Assassin’s Creed. I’m forever screaming about how awesome this vid is in my head but now I share it with everyone. Forever shouting because rhoboat captured all of the game footage!! To make THIS VID. The skill and talent and sheer fucking perseverance to perform some of these actions in the game specifically for this vid. Everything is permitted.

Pop That Lock by @kuwdora. Final Fantasy VII: Remake. Cloud/everyone. Final Fantasy + Adam Lambert = my groove. You got the key to your release, so pop that lock until you’re lighter than air.

D U S K by niyalune. Outer Wildes. This game is gorgeous and this vid is so fucking beautiful and full of wonder and heart "The universe is, and we are."

We’re Here Because We’re Here by violace. Journey 2012. We're here because we're here. Maybe it's really that simple.

Brother (Last Ride) by @kuwdora. The Witcher 3: Wild Hunt. The wolves of Kaer Morhen. I captured all my own game footage for this vid! A first for me. We face the fire together, brothers 'til the end. Never Seen The Light of Day by violace. Bioshock Infinite. This character study really takes you on Elizabeth's journey! Amazing song choice and what a game. And the truth shall set you free. -- A tribute to Elizabeth.

Birds, Birds, Birds by bironic. Wingspan. Tabletop game play, video game, trailers. Bironic has done it again and created something so incredible and something I haven’t seen before and inspired me and struck everyone full of awe and love. I got birdies, dawg.

9 to 5 by @eruthros. Lego Star Wars. This is so damn cute! It's a tough life for a clone trooper or stormtrooper.

One Foot by @kuwdora. Star Wars: Jedi Fallen Order. Cal Kestis my beloved. Taking this one step at a time.

Start Wearing Purple by @findmeinthealps Mythic Quest. Not a video game per se but about the people who make them. Poppy Li and Iann Grimm. Hot messes who end up making some great and terrible choices along the way. All your sanity and wits, they will all vanish, I promise.

Hurry, Hurry, Hurry by @marahsarie. Outer Wildes. This vid!! is so cute!! and wonderful!! All my friends and all the loose ends and this love of mine, 'cause I'm running out of time.

Anything For Love (Including That) by caramarie Mass Effect/Dragon Age. Thanks for the terrible romantic choices, Bioware.

For more video game vids:

Vidding community on dreamwidth - see the games tag: dishonored, carmen san diego,resident evil and more.

Vividcon Database: 2013 Video Games Vidshow

Spring Equinox 2013 theme: Game On! which includes video games (and sports game themes)

Vidding Discord: ask for recs from more vidders!

Previous Saturday Morning Vid Recs:

Women!

Space and Robots

Animals

Follow the tags to keep up with recs this summer:

#saturday morning vid recs

#kuwdora vid recs

#kuwdora recs

A helpful guide I wrote:

How to Leave Feedback on Fanvids

[maggiecheungs]

poems in episode one of the story of kunning palace

in episode 1 of kunning palace, xuening grabs a book of poems in order to trick her maids into thinking she keeps a ledger. my knowledge of classical chinese isn't particularly high level, but it's good enough to at least identify which poems are on the page that she opens to, and i'm certain they were deliberately chosen because of their relevance to the characters and themes of the show 👀 so i thought i'd do a post about them :)

this page contains three poems by the tang dynasty poet wang changling (698–756): 芙蓉樓送辛漸 (farewell to xin jian at lotus tower); 閨怨 (boudoir lament); and 春宮曲 (spring palace song). detailed analyses under the cut:

1 - 芙蓉樓送辛漸 (farewell to xin jian at lotus tower):

my translation

poem summary: the poet's friend came to wu on a night when cold rain was pouring into the river, and departs again at dawn. the poet accompanies him on his journey as far as the chu mountains [but cannot carry on journeying with him because he must stay at his official post in wu]. as he bids goodbye, he asks his friend to tell his family back in luoyang that his heart is still pure and resolute.

key themes: loneliness and solitude; duty; having a pure heart and noble character

analysis: this one is a fairly famous poem about parting before setting off on a long journey. it's particularly notable for its final line, 一片冰心在玉壺, which roughly translates to "my heart is as pure as a piece of ice within a vessel of jade"... which could easily have been written as a summary of zhang zhe's character.

however! while there's a definite emphasis on having a pure and guiltless heart, when you combine with the previous line, the couplet as a whole also gives a sense that the speaker wishes to be remembered by those they love as someone pure and righteous ("tell my family back in luoyang that my heart is still pure etc"). this seems to be a theme of xuening's second life: wanting to correct her past wrongs and treat the people she cares for better, and to prove to zhang zhe that she can be a good person in future

in particular, this poem makes me think of xuening's last moments in her first life. the poet's final request before he bids farewell to his friend? for his companion to tell his family that he is still noble at heart. xuening's final request before she dies? for xie wei to take her life in exchange for that of zhang zhe, as her way of repenting for being dishonourable and ruining his life... 🤔🤔🤔

2 - 閨怨 (boudoir lament):

poem summary: the young wife in her boudoir knows nothing of sorrow, but as she completes her toilette and ascends the emerald tower, she suddenly sees the hue of poplars and willows on the roadside and regrets letting her husband leave home to pursue official position and power.

key themes: love and marriage; abandonment; ambition (and the effect that ambition has on love)

analysis: it's essentially about how the husband's ambition causes him to abandon his wife to grief and loneliness, which seems like a clear parallel with xuening's willingness to abandon her faithful lovers for the sake of her ambition; there's also the implication that political status is ultimately less meaningful than a loving marriage.

i think it's worth noting that the character 怨 (yuan) in the title is fairly hard to translate, as it implies a mixture of grief and anger/resentment, or even hatred. it's fairly common in boudoir poems about women left behind by their husbands, and in that context it's often translated as 'lament' or 'grief', but i think the ambivalence of the term is fairly important, particularly if you apply it to kunning palace and the mix of grief and anger that xuening inspires in her old lovers in her first life.

3 - 春宮曲 (spring palace song):

poem summary: the wind is mild, the flowers are in full bloom, the moon is full and bright. the emperor has fallen in love with one of his sister's singing serving women, and is showering her with imperial favour and bestowing brocade robes upon her to keep out the spring chill.

key themes: happiness, success, security. (however, with contextual knowledge, there's also the implication of future doom, and that nobody can stay on top of the world forever)

analysis: i didn't quite catch the full significance of this one until i googled it and realised it's a poem about a real historical figure: wei zifu, a song-and-dance girl serving the princess pingyang, who wins the favour of pingyang’s brother, emperor wu of the han dynasty, eventually becoming his second empress (the second-longest serving empress in chinese history!).

wei zifu's story is essentially about a young woman of humble origins who survives numerous palace intrigues and eventually manages to ascend to the position of empress, trusted by the emperor to the extent that she was allowed to rule in his absence. however, after maintaining her position for over three decades, she eventually fell afoul of a conspiracy against her and her son, and committed suicide rather than allowing herself to be deposed.

i mean… the way this links to jiang xuening's first life is so obvious i don't even feel the need to explain it.

[istumpysk]

OPERATION ICEBERG: THE TIER LIST

THEORY:

Curtain of Light

TIER:

Fanfiction: These "theories" are nothing short of delusional fan-crafted fantasies, embarrassingly disconnected from any shred of textual reality.

[Tier list overview]

EVIDENCE:

Oh boy!

First, let's outline the theory.

Please note, like any other fan theory, there are always minor differences of opinion. So, we'll cover the basics that most people seem to agree on.

Daenerys, Jon, and Tyrion are the three heads of the dragon.

To defeat the Others, they will each mount a dragon and travel as far north as possible, beyond a curtain of light, where they will encounter a Lovecraftian, apocalyptic dimension filled with all kinds of monsters.

While they are beyond this curtain of light, they will engage in life-affirming activities in the face of death. Some believe this could manifest as Tyrion learning to love himself, childbirth, or a sexual encounter between Jon and Daenerys.

They will then sacrifice themselves and their dragons to defeat the Others. Presumably, much will go up in flames.

Apparently, this epitomizes the theme of the human heart in conflict with itself and will serve as the conclusion of the story.

Now, for the evidence...

Oops, there isn't any.

If you've ever had the privilege of reading someone discuss this theory, you'll have noticed a glaring lack of textual support. Nevertheless, I'll do my best to piece together a coherent argument for why this could happen.

(Honestly, I'm a bit bitter that I'm putting in more effort to prove this theory than anyone else has.)

What does it mean when something is Lovecraftian?

To borrow from dictionary.com, 'Lovecraftian' pertains to elements reminiscent of the works of fantasy and horror writer H.P. Lovecraft, especially those that depict monstrous, misshapen beings from other dimensions or universes.

George R. R. Martin, a fan of literature, incorporates numerous Lovecraftian references in his A Song of Ice and Fire series and its associated works.

Examples include:

Leng (Island): Inspired by Lovecraft's Plateau of Leng.

Sarnath (City): Likely inspired by the city of Sarnath in Lovecraft's "The Doom that Came to Sarnath."

Ib (Island/Civilization): Possibly a nod to Ib from "The Doom that Came to Sarnath."

K'dath in the Grey Waste: Inspired by Lovecraft's Kadath in the Cold Waste.

Church/Cult of Starry Wisdom: A probable reference to the same cult in Lovecraft's "The Haunter of the Dark."

Deep Ones: Likely inspired by the aquatic creatures in Lovecraft's "The Shadow over Innsmouth."

"What's dead may never die": Possibly inspired by Lovecraft's phrase "That is not dead which can eternal lie / And with strange eons even death may die."

The Drowned God: Possibly a nod to Lovecraft's Cthulhu.

Dagon: An Ironborn-associated name, also an ancient being in Lovecraft's lore.

The Black Goat of Qohor: Possibly a reference to Lovecraft's Shub-Niggurath, the "Black Goat of the Woods with a Thousand Young."

N'Ghai and Nefer: Likely inspired by Lovecraft's N'Kai, an underground realm associated with Tsathoggua.

Are you noticing a pattern? These nods to Lovecraft are mostly found in peripheral settings, with minor association to the Ironborn. George tends to make a lot of references to all kinds of literature in a similar fashion.

I'd hesitate to jump to the conclusion that this implies the existence of a parallel universe with otherworldly monsters, accessible via a portal in the far north. But since this is appearing in the evidence section, I guess we'll do that anyway.

Moving on.

The words "curtain of light" appear in a Bran chapter. One time. In only this chapter.

Finally he looked north. He saw the Wall shining like blue crystal, and his bastard brother Jon sleeping alone in a cold bed, his skin growing pale and hard as the memory of all warmth fled from him. And he looked past the Wall, past endless forests cloaked in snow, past the frozen shore and the great blue-white rivers of ice and the dead plains where nothing grew or lived. North and north and north he looked, to the curtain of light at the end of the world, and then beyond that curtain. He looked deep into the heart of winter, and then he cried out, afraid, and the heat of his tears burned on his cheeks. Now you know, the crow whispered as it sat on his shoulder. Now you know why you must live. - Bran III, AGOT

Melisandre also references curtains, though they are clearly different curtains than Bran's curtains. Whatever, it's fine.

Shadows in the shape of skulls, skulls that turned to mist, bodies locked together in lust, writhing and rolling and clawing. Through curtains of fire great winged shadows wheeled against a hard blue sky. - Melisandre I, ADWD

x

The flames crackled softly, and in their crackling she heard the whispered name Jon Snow. His long face floated before her, limned in tongues of red and orange, appearing and disappearing again, a shadow half-seen behind a fluttering curtain. Now he was a man, now a wolf, now a man again. - Melisandre I, ADWD

There is a place called the Land of Always Winter. It's like the Arctic.

The icy trenches rose around them, knee high, then waist high, then higher than their heads. They were in the heart of Winterfell with the castle all around them, but no sign of it could be seen. They might have easily been lost amidst the Land of Always Winter, a thousand leagues beyond the Wall. - Theon I, ADWD

x

Yet no matter the truths of their arts, the children were led by their greenseers, and there is no doubt that they could once be found from the Lands of Always Winter to the shores of the Summer Sea. - The World of Ice and Fire—Ancient History: The Dawn Age

x

What is commonly accepted is that the Age of Heroes began with the Pact and extended through the thousands of years in which the First Men and the children lived in peace with one another. With so much land ceded to them, the First Men at last had room to increase. From the Land of Always Winter to the shores of the Summer Sea, the First Men ruled from their ringforts. - The World of Ice and Fire—Ancient History: The Age of Heroes

The Others are believed to originate from the Land of Always Winter, where, according to legend, you can also find spooky ice spiders.

However, I should mention, a detail that might be easily missed in the books is that they are currently at Hardhome and continue to press south towards the Wall.

Yet there are other tales—harder to credit and yet more central to the old histories—about creatures known as the Others. According to these tales, they came from the frozen Land of Always Winter, bringing the cold and darkness with them as they sought to extinguish all light and warmth. The tales go on to say they rode monstrous ice spiders and the horses of the dead, resurrected to serve them, just as they resurrected dead men to fight on their behalf. - The World of Ice and Fire—Ancient History: The Long Night

In 2012, George confirmed that future books would explore further and further north. No shit, you don't say. I wonder if Bran's journey through history, where we learn more about the origins of the Others, has anything to do with that.

"And what lies really north in my books—we haven't explored that yet, but we will in the last two books." - George R. R. Martin

Bran uses the common metaphor "the heart of _____ (winter)" in the same passage that the curtain of light appears. Later, in another book, Daenerys enters the House of the Undying, where she encounters blue figures reminiscent of the Others. There, she finds a literal blue heart that appears to be their life force. Drogon eats it. Together, these things might suggest that there is a literal blue heart beyond a portal that needs to be set on fire to defeat the Others.

Also, another time, Theon stands in the middle of Winterfell and uses the same "the heart of" metaphor (common phrase found throughout the series). Shortly after, he references the Land of Always Winter, so I thought I would throw it in to be generous.

He looked deep into the heart of winter, and then he cried out, afraid, and the heat of his tears burned on his cheeks. - Bran III, AGOT

x

They were in the heart of Winterfell with the castle all around them, but no sign of it could be seen. They might have easily been lost amidst the Land of Always Winter, a thousand leagues beyond the Wall. - Theon I, ADWD

x

A long stone table filled this room. Above it floated a human heart, swollen and blue with corruption, yet still alive. It beat, a deep ponderous throb of sound, and each pulse sent out a wash of indigo light. The figures around the table were no more than blue shadows. As Dany walked to the empty chair at the foot of the table, they did not stir, nor speak, nor turn to face her. There was no sound but the slow, deep beat of the rotting heart. [...] Through the indigo murk, she could make out the wizened features of the Undying One to her right, an old old man, wrinkled and hairless. His flesh was a ripe violet-blue, his lips and nails bluer still, so dark they were almost black. Even the whites of his eyes were blue. They stared unseeing at the ancient woman on the opposite side of the table, whose gown of pale silk had rotted on her body. One withered breast was left bare in the Qartheen manner, to show a pointed blue nipple hard as leather. She is not breathing. Dany listened to the silence. None of them are breathing, and they do not move, and those eyes see nothing. Could it be that the Undying Ones were dead? [...] Then indigo turned to orange, and whispers turned to screams. Her heart was pounding, racing, the hands and mouths were gone, heat washed over her skin, and Dany blinked at a sudden glare. Perched above her, the dragon spread his wings and tore at the terrible dark heart, ripping the rotten flesh to ribbons, and when his head snapped forward, fire flew from his open jaws, bright and hot. - Daenerys IV, ACOK

x

Only its eyes lived. Bright blue, just as Jon said. They shone like frozen stars. 

[...]

When he opened his eyes the Other's armor was running down its legs in rivulets as pale blue blood hissed and steamed around the black dragonglass dagger in its throat. - Samwell I, ASOS

If you cherry-pick through the text and remove all context, you might be able to piece together a few sentences suggesting that life and love will defeat the Others and that a great self-sacrifice is imminent.

The man looked over at the woman. "The things I do for love," he said with loathing. - Bran II, AGOT

x

We are only human, and the gods have fashioned us for love. That is our great glory, and our great tragedy. - Jon VIII, AGOT

x

"Sansa, permit me to share a bit of womanly wisdom with you on this very special day. Love is poison. A sweet poison, yes, but it will kill you all the same." - Sansa IV, ACOK

x

"You're mine," she whispered. "Mine, as I'm yours. And if we die, we die. All men must die, Jon Snow. But first we'll live." - Jon V, ASOS

x

Someone threw a stone, and when Dany looked, her shoulder was torn and bloody. "No," she wept, "no, please, stop it, it's too high, the price is too high." More stones came flying. - Daenerys VIII, AGOT

x

"You are a boy of fourteen," Benjen said. "Not a man, not yet. Until you have known a woman, you cannot understand what you would be giving up." "I don't care about that!" Jon said hotly. "You might, if you knew what it meant," Benjen said. "If you knew what the oath would cost you, you might be less eager to pay the price, son." - Jon I, AGOT

Daenerys is convinced that there will be three heads of the dragon, and let me tell you, that girl's expectations are always fulfilled.

"If you were grown," she told Drogon, scratching him between the horns, "I'd fly you over the walls and melt that harpy down to slag." But it would be years before her dragons were large enough to ride. And when they are, who shall ride them? The dragon has three heads, but I have only one. She thought of Daario. If ever there was a man who could rape a woman with his eyes . . . - Daenerys V, ASOS

If the author leads you to believe that something will happen, it must be true.

Lastly, I should mention that there are vague references suggesting that George has written other stories with events and themes similar to this proposed ending. However, I can't verify these claims, and unsurprisingly, the works in question are never cited.

Well, that was it.

Say what you will about the "Daario is Euron" theorists, but at least they attempt to back up their crazy idea with actual text from the books.

COUNTER-EVIDENCE:

To put it bluntly, this theory has no basis—no textual support, no historical parallels, no evidence in the companion books, no prophetic visions, no dreams, no myths, no legends, no similarities to the television show, and no foreshadowing to speak of. It is entirely made up, with only a few words from the text as its foundation.

Does that sound like George R. R. Martin to you?

That said, now that I’ve realized his three-fold revelation strategy, I see it in play almost every time. The first, subtle hint for the really astute readers, followed later by the more blatant hint for the less attentive, followed by just spelling it out for everyone else. It’s a brilliant strategy, and highly effective. - Anne Groell, George R. R. Martin's editor

A Song of Ice and Fire is about the people of Westeros putting aside their petty differences and uniting against two existential threats: ice, represented by the Others, and fire, represented by Daenerys Targaryen and her dragons. It's not a story about fire defeating ice.

Well, of course, the two outlying ones — the things going on north of the Wall, and then there is Targaryen on the other continent with her dragons — are of course the ice and fire of the title, "A Song of Ice and Fire." The central stuff — the stuff that's happening in the middle, in King's Landing, the capital of the seven kingdoms — is much more based on historical events, historical fiction. It's loosely drawn from the Wars of the Roses and some of the other conflicts around the 100 Years' War, although, of course, with a fantasy twist. You know, one of the dynamics I started with, there was the sense of people being so consumed by their petty struggles for power within the seven kingdoms, within King's Landing — who's going to be king? Who's going to be on the Small Council? Who's going to determine the policies? — that they're blind to the much greater and more dangerous threats that are happening far away on the periphery of their kingdoms. - George R. R. Martin

x

Ice and fire of course are also opposites, they're a duality and there's a lot in my books that are about duality. Certainly the religion of Melisandre, one of the most important characters, I think is basically a dualist religion with the premise that there are two gods. It's somewhat based on Zoroastrianism, and a little bit based on Catharism, Albigenses heresy who I know had some roots here in Spain once upon a time, before they were all killed. The idea of a world divided between good and evil, war between the two, which is so basic to so many fantasy starting with Tolkien, but much more so in the case of Tolkien imitators, was something that I wanted to recast and think about and maybe subvert a little. But I'm still using kind of the language of it, and some of the symbols associated with it. So all of these are grist for the mill, it's not something as simple as saying ice is this and fire is that. They're both many things. And one of the most important things is that both of them, ice and fire will kill you dead. So they're both dangerous in their own ways, hate, love, desire, coldness, they can both be deadly. - George R. R. Martin

x

While the lion of Lannister and the direwolf of Stark snarl and scrap, however, a second and greater threat takes shape across the narrow sea, where the Dothraki horselords mass their barbarian hordes for a great invasion of the Seven Kingdoms, led by the fierce and beautiful Daenerys Stormborn, the last of the Targaryen dragonlords. The Dothraki invasion will be the central story of my second volume, A Dance with Dragons. The greatest danger of all, however, comes from the north, from the icy wastes beyond the Wall, where half-forgotten demons out of legend, the inhuman others, raise cold legions of the undead and the neverborn and prepare to ride down on the winds of winter to extinguish everything that we would call "life." - The Original Outline

x

I have tried to make it explicit in the novels that the dragons are destructive forces, and Dany (Daenerys Targaryen) has found that out as she tried to rule the city of Meereen and be queen there.

She has the power to destroy, she can wipe out entire cities, and we certainly see that in 'Fire and Blood,' we see the dragons wiping out entire armies, wiping out towns and cities, destroying them, but that doesn't necessarily enable you to rule — it just enables you to destroy. - George R. R. Martin

In the established lore of A Song of Ice and Fire, dragons can't cross the Wall and dislike cold and wet weather. How exactly will they get to this Lovecraftian Land of Always Winter, and how will they be of any use in that climate?

The men of the Night's Watch were as thunderstruck by the queen's dragon as the people of White Harbor had been, though the queen herself noted that Silverwing "does not like this Wall." Though it was summer and the Wall was weeping, the chill of the ice could still be felt whenever the wind blew, and every gust would make the dragon hiss and snap. "Thrice I flew Silverwing high above Castle Black, and thrice I tried to take her north beyond the Wall," Alysanne wrote to Jaehaerys, "but every time she veered back south again and refused to go. Never before has she refused to take me where I wished to go. I laughed about it when I came down again, so the black brothers would not realize anything was amiss, but it troubled me then and it troubles me still." - Fire & Blood: Jaehaerys and Alysanne—Their Triumphs and Tragedies

x

Autumn was well advanced when the Prince of Dragonstone came to Winterfell. The snows lay deep upon the ground, a cold wind was howling from the north, and Lord Stark was in the midst of his preparations for the coming winter, yet he gave Jacaerys a warm welcome. Snow and ice and cold made Vermax ill-tempered, it is said, so the prince did not linger long amongst the northmen, but many a curious tale came out of that short sojourn. - Fire & Blood: the Dying of the Dragons—A Son for a Son

x

The big man looked out toward the terrace. "I knew it would rain," he said in a gloomy tone. "My bones were aching last night. They always ache before it rains. The dragons won't like this. Fire and water don't mix, and that's a fact. You get a good cookfire lit, blazing away nice, then it starts to piss down rain and next thing your wood is sodden and your flames are dead." - The Dragontamer, ADWD

x

He saw no sign of dragons, but he had not expected to. The dragons did not like the rain. - The Queen's Hand, ADWD

x

(bonus, for laughs:)

"The things…Mother have mercy, I do not know how to speak of them…they were…worms with faces…snakes with hands…twisting, slimy, unspeakable things that seemed to writhe and pulse and squirm as they came bursting from her [Aerea Targaryen] flesh. Some were no bigger than my little finger, but one at least was as long as my arm…oh, Warrior protect me, the sounds they made…" "They died, though. I must remember that, cling to that. Whatever they might have been, they were creatures of heat and fire, and they did not love the ice, oh no. One after another they thrashed and writhed and died before my eyes, thank the Seven. I will not presume to give them names…they were horrors." - Fire & Blood: Jaehaerys and Alysanne—Their Triumphs and Tragedies

House Targaryen and their dragons played no role in the previous Long Night.

How the Long Night came to an end is a matter of legend, as all such matters of the distant past have become. In the North, they tell of a last hero who sought out the intercession of the children of the forest, his companions abandoning him or dying one by one as they faced ravenous giants, cold servants, and the Others themselves. Alone he finally reached the children, despite the efforts of the white walkers, and all the tales agree this was a turning point. Thanks to the children, the first men of the Night's Watch banded together and were able to fight—and win—the Battle for the Dawn: the last battle that broke the endless winter and sent the Others fleeing to the icy north. Now, six thousand years later (or eight thousand as True History puts forward), the Wall made to defend the realms of men is still manned by the sworn brothers of the Night's Watch, and neither the Others nor the children have been seen in many centuries. - The World of Ice and Fire—Ancient History: The Long Night

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The Targaryens were of pure Valyrian blood, dragonlords of ancient lineage. Twelve years before the Doom of Valyria (114 BC), Aenar Targaryen sold his holdings in the Freehold and the Lands of the Long Summer and moved with all his wives, wealth, slaves, dragons, siblings, kin, and children to Dragonstone, a bleak island citadel beneath a smoking mountain in the narrow sea. - The World of Ice and Fire—The Reign of the Dragons: The Conquest

Bran's curtain of light is simply a reference to the aurora borealis. For the love of christ, it's not a portal to another dimension.

North and north and north he looked, to the curtain of light at the end of the world, and then beyond that curtain. - Bran III, AGOT

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Sailors, by nature a gullible and superstitious lot, as fond of their fancies as singers, tell many tales of these frigid northern waters. They speak of queer lights shimmering in the sky, where the demon mother of the ice giants dances eternally through the night, seeking to lure men northward to their doom. - The World of Ice and Fire—Beyond the Free Cities: The Shivering Sea

Speaking of Bran, why isn't he central to this theory? Didn't that sentence appear in his chapter? What is Arya up to? Where is Sansa? Why are the Starks, who are the central characters of this series, taking a backseat in their own conflict, which is unfolding in their own backyard?

(Not to mention the Night's Watch, the wildlings, the northerners, and the children of the forest—you know, the people who are actually integral to this storyline.)

Yeah, the children were always at the heart of this. The Stark children, in particular, were always very central. Bran is the first viewpoint character that we meet, and then we meet Jon and Sansa and Arya and the rest of them. It was always my intention to do that. - George R. R. Martin

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Whenever I propose analogies like that, fans jump in with their own ideas, but it depends on what team you root for. To me, the Starks are heroes, so they would be the Giants. - George R. R. Martin

It's going to be a pact facilitated by Bran.

What is commonly accepted is that the Age of Heroes began with the Pact and extended through the thousands of years in which the First Men and the children lived in peace with one another. - The World of Ice and Fire—Ancient History: The Age of Heroes

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Regardless, the children of the forest fought as fiercely as the First Men to defend their lives. Inexorably, the war ground on across generations, until at last the children understood that they could not win. The First Men, perhaps tired of war, also wished to see an end to the fighting. The wisest of both races prevailed, and the chief heroes and rulers of both sides met upon the isle in the Gods Eye to form the Pact. - The World of Ice and Fire—Ancient History: The Coming of First Men

x

According to these tales, the return of the sun came only when a hero convinced Mother Rhoyne's many children—lesser gods such as the Crab King and the Old Man of the River—to put aside their bickering and join together to sing a secret song that brought back the day. - The World of Ice and Fire—Ancient History: The Long Night

x

How the Long Night came to an end is a matter of legend, as all such matters of the distant past have become. In the North, they tell of a last hero who sought out the intercession of the children of the forest, his companions abandoning him or dying one by one as they faced ravenous giants, cold servants, and the Others themselves. Alone he finally reached the children, despite the efforts of the white walkers, and all the tales agree this was a turning point. Thanks to the children, the first men of the Night's Watch banded together and were able to fight—and win—the Battle for the Dawn: the last battle that broke the endless winter and sent the Others fleeing to the icy north. - The World of Ice and Fire—Ancient History: The Long Night

Tyrion Lannister is not a Targaryen; he is not one of the three heads of the dragon. He is the malevolent, vindictive son of Tywin Lannister. He rapes women, he kills women, he marries child hostages to acquire their castles, he will be complicit in the death of potentially hundreds of thousands of people, and he isn't getting anything remotely resembling a heroic ending.

Jaime kissed her cheek. "He left a son." "Aye, he did. That is what I fear the most, in truth." That was a queer remark. "Why should you fear?" "Jaime," she said, tugging on his ear, "sweetling, I have known you since you were a babe at Joanna's breast. You smile like Gerion and fight like Tyg, and there's some of Kevan in you, else you would not wear that cloak . . . but Tyrion is Tywin's son, not you. I said so once to your father's face, and he would not speak to me for half a year. Men are such thundering great fools. Even the sort who come along once in a thousand years." - Jaime V, AFFC

Daenerys and her dragons represent one of the two principal threats in the narrative. Azor Ahai is a misinterpreted prophecy that is intended as a warning, not as the foretelling of a hero.

Since the first book, her sole objective has been to rule foreign lands seized through force. She exploits slaves, consistently engages in brutal acts of violence, and leaves devastation wherever she sets foot. She will intentionally burn King's Landing to the ground, and then she'll be stabbed to death.

No. You are the blood of the dragon. The whispering was growing fainter, as if Ser Jorah were falling farther behind. Dragons plant no trees. Remember that. Remember who you are, what you were made to be. Remember your words. "Fire and Blood," Daenerys told the swaying grass. - Daenerys X, ADWD

The idea that Daenerys, Jon, and Tyrion will love themselves or each other, either physically or emotionally, and then collectively sacrifice themselves, is the dumbest climax anyone has ever conceived. You forfeit the right to ever complain about the show if this is what you thought should happen.

Finally, please remember that, by default, the original creators of this theory are always wrong about everything.

STUMPY'S THOUGHTS:

You might be asking yourselves, "How do we distinguish between joke and fanfiction theories?"

I'll tell you. Both are equally absurd, but the fanfiction tier has the unique quality of making you feel like you're reading a story written by a fanfic writer who's in denial about their aspirations to write fanfic.

VOTE:

I welcome discussions. Feel free to reblog, respond, or challenge my perspective—I won't be offended by any of it.

Please note, if "no" is the eventual winner, or if it's competitive, a second poll will be conducted to determine the proper location.*

*won't be necessary for this theory.

NEXT THEORY:

Varys has Tyrek Lannister

[barrenclan]

unsure if this has been said before but please let me get what i want (the deftones vers specifically) feels very fitting for pinepaw or maybe even rainhaze. the family guys who are almost foils to each other when they're both going through a messy rough time 🤝

I really like this suggestion, because Morrissey is my current voiceclaim for Pinepaw so he's very Smiths-coded in my mind.

Haven't had a dream in a long time See, the life I've had Could make a good man bad

So for once in my life Let me get what I want Lord knows it would be the last time Lord knows it would be the first time

Oh my friend, British men screeching is just about my favorite musical styling.

Want land in the valley There's pieces of you breaking off (Pieces of you breaking off)

Big money's in the basin, you don't come back without it He's killing with abandon to get over the mountain Got darkest rum from Mama, seething in the liver Blood disease from Papi, poisoning the river

Friends on the Other Side works pretty well for Ranger, at the very least his attitude. Rainhaze's deal came from desperation rather than greed, but I do like things that speak to his thoughtless self-centeredness and hero complex.

That's a Rainhaze song if I ever heard one!

Stuck in the middle of a forest made of Flesh and bones and they're all scared of A lost little boy who has lost his heart Fear's not enough, they have to Tear him apart

Follow the scent of iron sinking Deeper into corpses rotting But they can't hear you talk, talk, talk About every little thing

And the Hound Is humming you A lie, a lullaby

Ohh, yeah... I can see it.

I wonder who I'd be If all these bad things Didn't happen to me

I must be The Virgin Mary To create a son Who will suffer so much <- the sloug.......

The tone of the song is pretty light, but I can see the lyrics working! Especially drawing parallels between the original great destruction and the current onslaught.

Oh god, come quickly The execution of all things Let's start with the bears and the air And mountains, rivers and streams Then we'll murder what matters to you And move on to your neighbors and kids Crush all hopes of happiness with disease 'Cause of what you did

And lastly, you're all alone with nothing left but sleep But sleep never comes to you It's the guilt and forever wakefulness of the weak It's just you and me

Ah, that musical is on my watchlist but I haven't gotten around to it yet. I've heard pretty good things, though!

I roar! And you cry! I'm the reason You run and hide!

You better leave your hopes behind No one's gonna stop him You better hope he's out of sight Or you're doomed to be a victim

Objectively wild pull, but I do love Johnny Cash, and his voice reminds me a lot of what Mallowstar's would be like. I like this song a lot with him. :,]

Well, I won't back down, no I won't back down You can stand me up at the gates of Hell But I won't back down

Well, I know what's right, I got just one life In a world that keeps on pushin' me around But I stand my ground and I won't back down <- wahh mallowstar...

I'd definitely this has big Slugpelt energy.

Dear, I fear we're facing a problem You love me no longer, I know And maybe there is nothing That I can do to make you do Mama tells me I shouldn't bother

Lately I have desperately pondered, Spent my nights awake and I wonder What I could have done in another way To make you stay

It's a pretty good song!

YAY Queen song! This is interesting; I can see it very well with characters that are still a spoiler to talk about.

So much ado, my lover So many games we played Through every fleeted summer Through every precious day

All dead, all dead All the dreams we had And I wonder why I still live on All dead, all dead And alone, I'm spared My sweeter half instead All dead and gone

Damn I ran out of video links