#matt smith in a wig show

[northlandcleric]

Just saw the spoilers and leaks for the finale of The Dragon Show starring Matt Smith In A Wig and I gotta say:

all these stupid ass storylines Condom and Ass came up with really amounted to not a damn thing in the end.

All the emo shots of Alicent, Rheana and Sheepstealer, lmao not a damn resolution in sight.

Matt Smith In A Wig getting spoilers for GOT S8 thanks to probably Jojen paste and medieval Professor Trelawney.

The only thing that I’ve seen that was chill to a very fine point was the Matt Smith In A Wig reunion with show!Rhaenyra.

Oh! And Jace scenes. Those are always welcome.

[hotdaemondtargaryen]

ALYS AND DAEMON — the way they shake their hair.

[wildrangers]

Hello i see you're accepting fic requests, i have a matt smith fic idea, can u do a behind the scenes w matt and fem!reader where they are both married in real life but they're rivals on cam, and when the scene cuts they're like all lovey dovey and their castmates are always teasing them 💟 tysmmm!!!

Thank you so much for this request anon, I loved this idea! I created an OC HOTD character for the reader to play and kind of worked her into different key moments from the show. I hope you enjoy 🙂

Tropes & Topics: total fluff

Word Count: 900

“What would you call the husband of the Queen?”

“Well, the king-”

“There it is, then.”

“...consort” 

Your eyes met Daemon’s, fury coursing through your veins. His head tilted, eyes assessing you. “That seems redundant, no?”

“I speak for the Queen when I say it is not.” 

There was a long pause as you two stared each other down before “CUT! Good work you two.”

“Darling! You were stupendous” Matt praised, walking towards you with his arms raised. Mostly joking groans sounded from the crew around you. “Oh, stop it you lot.”

“I always forget how angry you make me when you have that fucking wig on” you tease, wrapping your arms around his middle tightly. 

“I could say the same to you, my love” he chuckled, pressing a chaste kiss to the top of your silver wig.

Your role on House of the Dragon was Anora, a close confidant and cousin of Rhaenyra. Given your character’s fierce loyalty to Rhaenyra, she shared a tense, often hostile, relationship with Daemon which you two delighted in playing as it was so opposed to your real-life dynamics as newlyweds. 

“Are you love birds ready for lunch now that you’ve terrorized the crew?” Emma’s voice called from behind Matt and you threw a grin their way. 

“Are they up to it again?” Harry seconded from behind them. 

“I don’t know what you’re referring to” you argued and Matt chuckled beside you, his arm resting along your shoulders as you followed the pair off the studio lot. 

“Oh, so you don’t remember the post-wedding incident?” Emma posed and you felt your face warm as the memory flooded your mind. 

“Wed?! Laenor has just died!” you shouted, whipping around to face your best friend and her apparent new husband. 

“No, cousin, he’s not dead. We arranged it so he could be free and we could marry” Rhaenyra explained and your eyes widened. 

“You let our monstrous uncle convince you of this?!” 

“Watch your tongue” Daemon replied, eyes blazing.

“Or what?” 

“Or I’ll take it.”

You took out the dagger you kept hidden on your side, “Well come on then, Daemon. You don’t frighten me.” 

“Enough!” Rhaenyra screamed, stepping between you both. “Cousin, this was my decision he forced me to do nothing. He wants to better support my claim to the throne when the time inevitably comes.” 

“He will be your ruin, Rhaenyra. Mark my words.”

“CUT! I think we got it guys, take five.” 

“My fierce wife!” Matt cheered, picking you up and swinging you around as you laughed. 

“Must you do this every take?” the director questioned, earning laughs from the cast and crew on set. 

“Am I wrong? She was incredible” he praised, placing you down and lovingly straightening the wig he’d disheveled in his excitement. 

“Yes, yes, your wife is brilliant and we’re all lucky to be graced with her presence” Emma teased and you stuck your tongue out at them. 

“The most brilliant one of us is you, my love” you tell him and are met with another chorus of groans as you giggle and squeeze his hand in yours.

“Oh! And you can’t forget the birthing scene from last season’s finale, that one was iconic.” Harry added and Emma eagerly nodded their agreement.

Rhaenyra wailed from the bedchamber behind you as you charged after Daemon. “What are you doing Daemon? She needs you!” 

“She needs someone to prepare for war, I can do nothing for her in that room.” 

“She’s calling for you Daemon, not me! She doesn’t want you to act on her behalf, just to be her husband.” 

“I am your king now!” he roared, turning around so quickly you slammed into his chest, his hands gripping your shoulders painfully to keep you upright.

“You overstep Daemon. You are no more than her king consort” you replied, adjusting your stance and fighting the wince of pain wracking your system.

Matt’s face completely broke, false anger draining from it, “Love, are you alright? I’m sorry everyone but she’s injured, we have to cut.” 

“Matt, it’s fine I could have finished the scene” you insisted but your argument fell flat as your ankle rolled out from beneath you. 

He didn’t hesitate, one arm gripping under your knees, the other under your arms to lift you off your feet. “Where’s the medic?!” 

“Matthew, it’s a twisted ankle, not a mortal wound” you assured but his face was panicked. “Hey, look at me” you said firmly, hand cupping his cheek. His hazel eyes met yours and you could see him fighting to control his fear that you were seriously injured. 

“I’m not putting you down until someone’s looked at your ankle” he insisted and you nodded your agreement. “I’m so, so sorry darling.”

“It was an accident, I’m fine, I promise” you replied, pulling his face down to yours for a brief kiss. 

“We have to release this as a blooper, the fans will eat it up!” you heard Emma call as Matt carried you off set towards the medic tent with the cameras still rolling.

“How could we forget? It went absolutely viral” Matt groaned and you laughed, pinching his side.

“You’re lucky you didn’t get charged with spousal abuse” you tease and he rolls his eyes as the others laugh. 

“Keep it going, I’ll just save up my annoyance with you for when we’re back on set.”

matt smith taglist: @slayraxes-blogs @littlehorrorlover

I'm always happy to hear any feedback, message me if you want to get added to the taglist! I have a few more asks waiting that will be out soon 🫶🏻

[arcielee]

How House of the Dragon’s Ewan Mitchell became TV’s most chilling villain [interview + pictures]

He played Barry Keoghan’s geeky friend in Saltburn. Now, the 27-year-old from Derby is riding dragons as Matt Smith’s terrifying nephew.

House of the Dragon, the Game of Thrones prequel series, is coming to the boil for its second-season finale, a cauldron of Targaryen civil war, court skulduggery and dragon-on-dragon dust-ups. For many, the highlight of this season has been the emergence of a beguiling new villain in Ewan Mitchell’s Prince Aemond Targaryen, who has a character arc that’s more like a zigzag. Spoilers follow.

Aemond lost his eye to the knife of his cousin, Lucerys, got airborne revenge when his dragon, Vhagar, swallowed Lucerys whole and is now on the Iron Throne as prince regent after Vhagar barbecued the king, Aemond’s despised brother Aegon, into a walking kebab. What makes the character, though, is the chilling panache with which Mitchell plays him; an impassive psychopath behind his eyepatch.

The showrunner, Ryan Condal, has said that he was at times taken aback by the Derby-born actor’s intensity. “I sometimes forget to blink,” Mitchell, 27, says with a smile. “I need to just chill out a little bit.” Not if it means losing the edge that defines Aemond, the same contained menace that fuelled Michael Corleone. It’s a Dornish-hot day in Covent Garden. Mitchell is softly spoken like Aemond, with striking blue-grey eyes, but considerably more courteous and less terrifying. His hair, which he buzz-cuts for the show to accommodate a wig, has grown to a tousled mop, dyed a Targaryen peroxide for this publicity tour.

To help him to get into character Mitchell listened to Metallica and Slipknot (“Aemond’s straight out of heavy metal”), while cinematic inspirations included Kirk Douglas’s titular swashbuckler (“with his strong chin”) in the 1958 movie The Vikings, the icily evil android played by Michael Fassbender in Prometheus and slow-walking horror villains such as Michael Myers in Halloween. “That’s the message that Aemond wants to give off: that he has you in his sights and you won’t be able to escape him,” Mitchell says. Sometimes he took it too far. In one scene he stalked into the council chamber, “and [the director] Alan Taylor said, ‘Can you speed up the walk, please?’”

His dragon’s knack of pouncing midair (“She comes up out of nowhere like Jaws”) helps Aemond’s aura, as does that eyepatch, even if it took Mitchell a while to get used to when riding horses. He often kept it on between takes, he says, “because over the course of a couple of hours you develop a headache”. That, in his world, is a good thing because it helps to suggest a “volcano that’s boiling underneath the surface”.

We are increasingly invited to compare Aemond with the show’s other compelling bad boy: his uncle Daemon, played by Matt Smith. Both are spares who believed they deserved the crown more than the heir. “Aemond is a prince who stands to inherit nothing,” Mitchell says. “He recognised, similar to Daemon, that everything he wanted to achieve he’d have to go out and get himself. Daemon and Aemond — their names are anagrams of each other and he definitely looked up to Daemon growing up.”

Similarly, Mitchell was a fan of Doctor Who as a child and Smith was his favourite Doctor. “There is a certain resemblance as well. I remember my nan saying that,” he says. Now, though, Aemond and Daemon are on opposite sides, the former fighting with the “Greens”, the latter, nominally, with Queen Rhaenyra’s “Blacks”. Two men with brutal self-confidence, a sense of grievance and prominent chins … the stage is set for a bloody confrontation, as it was in the original Game of Thrones between the brothers Sandor and Gregor Clegane. Aemond has already said he would “welcome” a chance to test himself against his uncle.

When it will happen, Mitchell can’t say. In preparation, though, he and Smith have been avoiding each other on set. That was Mitchell’s idea, but Smith and Condal agreed that it would help them to keep their grudge-match powder dry. “In the same way that Aemond keeps Daemon on that podium, I wanted to keep Matt Smith on that podium,” he says. “Our stories are very much contained and we shot in different studio spaces, so we never really brushed shoulders.”

Mitchell has also decided not to watch or read the original Game of Thrones. “I didn’t want it to influence me whether it be subconsciously or consciously,” he says, before asking me, “Which one do you prefer, House of the Dragon or Game of Thrones?” It’s hard to say until this show is over, I say, although both are equally obsessed with incest. He looks puzzled. “There was only one Targaryen in Game of Thrones, right?” Erm, not quite but I don’t want to spoil it. He smiles. “I’ll get around to watching it.”

He has certainly steeped himself in the world of House of the Dragon, which was adapted from the book Fire and Blood by the Thrones creator George RR Martin and is set more than a century before the first saga. Mitchell drew Aemond’s family tree when he got the part and can’t hide his annoyance when he briefly confuses Driftmark and High Tide, respectively an island and its castle in the show. “I’m kicking myself,” Mitchell says, which feels typical of his obsessiveness.

What is it about the Midlands that produces actors with such bristling presence? Mitchell, like Paddy Considine, who played Aemond’s father, Viserys, in the show, is a working-class son of Derbyshire and studied at the Television Workshop, an affordable, inclusive drama school in Nottingham whose other alumni include Samantha Morton, Jack O’Connell, Bella Ramsey and Vicky McClure.

“It’s just an amazing platform that champions raw talent,” Mitchell says. “I didn’t necessarily possess the means or the finances to go to drama school — no one in my family has ever done it.” His father’s side is “very much military”, he says, his grandfather having served in the SAS in Malaya and Oman after the Second World War. “He was very stoic; didn’t show much at all.” So that’s where Mitchell gets it from — his friends in Derby, where he still lives, call him “the Iceberg”. “I keep my cards quite close to my chest,” he says and he certainly does when it comes to saying if he has a partner.

After graduating he got his break in The Last Kingdom, the medieval drama series, playing Osferth, a kinsman of King Alfred. Good practice for the sword swinging, horse riding and dagger tossing to come. There was also a small role in High Life, the sci-fi-horror film starring Robert Pattinson, and a bigger one in Saltburn, Emerald Fennell’s remix of Brideshead Revisited, as Barry Keoghan’s geeky mathematician friend — one of the few non-plummy characters. “Emerald would give me something new every single take: ‘Play this one like Travis Bickle, play this one like a serial killer,’” Mitchell says.

• Before Game of Thrones — the story behind House of the Dragon

Like Robert De Niro as Bickle, Mitchell is brilliant at showing vulnerability beneath the menace. He loved shooting the scene in House of the Dragon where a smirking, pre-barbecue Aegon finds a naked Aemond in bed with the brothel worker who has become a mother figure. Aemond’s real mother is Dowager Queen Alicent Hightower (Olivia Cooke), whom he, as regent, has just ruthlessly stood down from the Small Council. “He doesn’t want anyone else to notice that he actually really loves his mum,” he says. “Once the war ends he wants to be sat on a Dornish beach with her sipping piña coladas.”

“Horror is definitely a genre I’d love to venture into at some point.”

They may not get that far, although you sometimes feel that Aemond knows how things will pan out — he accepted the regency with a cool sense of inevitability. Condal has stressed the parallels of his story with the Greek myth of the Cyclops, Mitchell says. “He traded one of his eyes to Hades so he could see the day he would die.” Recent events have tested Aemond’s prescience, though, notably Rhaenyra’s recruitment of low-born Targaryen bastards to ride dragons. In the finale “you’ll see Aemond lose that composure”, Mitchell says. “He’s gonna get desperate, and you don’t want Aemond desperate because that’s when he starts to overextend.”

What next? Mitchell won’t say how many seasons of House of the Dragon he has signed up for and we know by now that anyone can be killed off with zero fanfare. He clearly loves movies, peppering his chat with references to Inglourious Basterds, The Untouchables and the M Night Shyamalan film Split, and says he would love to work with Jodie Comer, the Safdie brothers, who made Uncut Gems, and Rose Glass, who directed Love Lies Bleeding. Oh, and “horror is definitely a genre I’d love to venture into at some point.” He would be a natural.

tagging my beloved @assortedseaglass fuck the paywall

copy pasta from The Times

[ewanmitchellcrumbs]

How House of the Dragon’s Ewan Mitchell became TV’s most chilling villain

He played Barry Keoghan’s geeky friend in Saltburn. Now, the 27-year-old from Derby is riding dragons as Matt Smith’s terrifying nephew

House of the Dragon, the Game of Thrones prequel series, is coming to the boil for its second-season finale, a cauldron of Targaryen civil war, court skulduggery and dragon-on-dragon dust-ups. For many, the highlight of this season has been the emergence of a beguiling new villain in Ewan Mitchell’s Prince Aemond Targaryen, who has a character arc that’s more like a zigzag. Spoilers follow.

Aemond lost his eye to the knife of his cousin, Lucerys, got airborne revenge when his dragon, Vhagar, swallowed Lucerys whole and is now on the Iron Throne as prince regent after Vhagar barbecued the king, Aemond’s despised brother Aegon, into a walking kebab. What makes the character, though, is the chilling panache with which Mitchell plays him; an impassive psychopath behind his eyepatch.

The showrunner, Ryan Condal, has said that he was at times taken aback by the Derby-born actor’s intensity. “I sometimes forget to blink,” Mitchell, 27, says with a smile. “I need to just chill out a little bit.” Not if it means losing the edge that defines Aemond, the same contained menace that fuelled Michael Corleone. It’s a Dornish-hot day in Covent Garden. Mitchell is softly spoken like Aemond, with striking blue-grey eyes, but considerably more courteous and less terrifying. His hair, which he buzz-cuts for the show to accommodate a wig, has grown to a tousled mop, dyed a Targaryen peroxide for this publicity tour.

To help him to get into character Mitchell listened to Metallica and Slipknot (“Aemond’s straight out of heavy metal”), while cinematic inspirations included Kirk Douglas’s titular swashbuckler (“with his strong chin”) in the 1958 movie The Vikings, the icily evil android played by Michael Fassbender in Prometheus and slow-walking horror villains such as Michael Myers in Halloween. “That’s the message that Aemond wants to give off: that he has you in his sights and you won’t be able to escape him,” Mitchell says. Sometimes he took it too far. In one scene he stalked into the council chamber, “and [the director] Alan Taylor said, ‘Can you speed up the walk, please?’”

His dragon’s knack of pouncing midair (“She comes up out of nowhere like Jaws”) helps Aemond’s aura, as does that eyepatch, even if it took Mitchell a while to get used to when riding horses. He often kept it on between takes, he says, “because over the course of a couple of hours you develop a headache”. That, in his world, is a good thing because it helps to suggest a “volcano that’s boiling underneath the surface”.

We are increasingly invited to compare Aemond with the show’s other compelling bad boy: his uncle Daemon, played by Matt Smith. Both are spares who believed they deserved the crown more than the heir. “Aemond is a prince who stands to inherit nothing,” Mitchell says. “He recognised, similar to Daemon, that everything he wanted to achieve he’d have to go out and get himself. Daemon and Aemond — their names are anagrams of each other and he definitely looked up to Daemon growing up.”

Similarly, Mitchell was a fan of Doctor Who as a child and Smith was his favourite Doctor. “There is a certain resemblance as well. I remember my nan saying that,” he says. Now, though, Aemond and Daemon are on opposite sides, the former fighting with the “Greens”, the latter, nominally, with Queen Rhaenyra’s “Blacks”. Two men with brutal self-confidence, a sense of grievance and prominent chins … the stage is set for a bloody confrontation, as it was in the original Game of Thrones between the brothers Sandor and Gregor Clegane. Aemond has already said he would “welcome” a chance to test himself against his uncle.

When it will happen, Mitchell can’t say. In preparation, though, he and Smith have been avoiding each other on set. That was Mitchell’s idea, but Smith and Condal agreed that it would help them to keep their grudge-match powder dry. “In the same way that Aemond keeps Daemon on that podium, I wanted to keep Matt Smith on that podium,” he says. “Our stories are very much contained and we shot in different studio spaces, so we never really brushed shoulders.”

Mitchell has also decided not to watch or read the original Game of Thrones. “I didn’t want it to influence me whether it be subconsciously or consciously,” he says, before asking me, “Which one do you prefer, House of the Dragon or Game of Thrones?” It’s hard to say until this show is over, I say, although both are equally obsessed with incest. He looks puzzled. “There was only one Targaryen in Game of Thrones, right?” Erm, not quite but I don’t want to spoil it. He smiles. “I’ll get around to watching it.”

He has certainly steeped himself in the world of House of the Dragon, which was adapted from the book Fire and Blood by the Thrones creator George RR Martin and is set more than a century before the first saga. Mitchell drew Aemond’s family tree when he got the part and can’t hide his annoyance when he briefly confuses Driftmark and High Tide, respectively an island and its castle in the show. “I’m kicking myself,” Mitchell says, which feels typical of his obsessiveness.

What is it about the Midlands that produces actors with such bristling presence? Mitchell, like Paddy Considine, who played Aemond’s father, Viserys, in the show, is a working-class son of Derbyshire and studied at the Television Workshop, an affordable, inclusive drama school in Nottingham whose other alumni include Samantha Morton, Jack O’Connell, Bella Ramsey and Vicky McClure.

It’s just an amazing platform that champions raw talent,” Mitchell says. “I didn’t necessarily possess the means or the finances to go to drama school — no one in my family has ever done it.” His father’s side is “very much military”, he says, his grandfather having served in the SAS in Malaya and Oman after the Second World War. “He was very stoic; didn’t show much at all.” So that’s where Mitchell gets it from — his friends in Derby, where he still lives, call him “the Iceberg”. “I keep my cards quite close to my chest,” he says and he certainly does when it comes to saying if he has a partner.

After graduating he got his break in The Last Kingdom, the medieval drama series, playing Osferth, a kinsman of King Alfred. Good practice for the sword swinging, horse riding and dagger tossing to come. There was also a small role in High Life, the sci-fi-horror film starring Robert Pattinson, and a bigger one in Saltburn, Emerald Fennell’s remix of Brideshead Revisited, as Barry Keoghan’s geeky mathematician friend — one of the few non-plummy characters. “Emerald would give me something new every single take: ‘Play this one like Travis Bickle, play this one like a serial killer,’” Mitchell says.

Like Robert De Niro as Bickle, Mitchell is brilliant at showing vulnerability beneath the menace. He loved shooting the scene in House of the Dragon where a smirking, pre-barbecue Aegon finds a naked Aemond in bed with the brothel worker who has become a mother figure. Aemond’s real mother is Dowager Queen Alicent Hightower (Olivia Cooke), whom he, as regent, has just ruthlessly stood down from the Small Council. “He doesn’t want anyone else to notice that he actually really loves his mum,” he says. “Once the war ends he wants to be sat on a Dornish beach with her sipping piña coladas.”

They may not get that far, although you sometimes feel that Aemond knows how things will pan out — he accepted the regency with a cool sense of inevitability. Condal has stressed the parallels of his story with the Greek myth of the Cyclops, Mitchell says. “He traded one of his eyes to Hades so he could see the day he would die.” Recent events have tested Aemond’s prescience, though, notably Rhaenyra’s recruitment of low-born Targaryen bastards to ride dragons. In the finale “you’ll see Aemond lose that composure”, Mitchell says. “He’s gonna get desperate, and you don’t want Aemond desperate because that’s when he starts to overextend.”

What next? Mitchell won’t say how many seasons of House of the Dragon he has signed up for and we know by now that anyone can be killed off with zero fanfare. He clearly loves movies, peppering his chat with references to Inglourious Basterds, The Untouchables and the M Night Shyamalan film Split, and says he would love to work with Jodie Comer, the Safdie brothers, who made Uncut Gems, and Rose Glass, who directed Love Lies Bleeding. Oh, and “horror is definitely a genre I’d love to venture into at some point.” He would be a natural.

[darklinaforever]

Typically why I hate screenwriters.

They write moments where Daemon is with his daughters, talking to them, or when he talks to Rhaenyra about her, then in the final cut, they don't shoot the scenes or they cut them.

But they keep and publish the photos or script of these moments just to say :

You saw ! We wrote some good scenes about Daemon and his daughters, but we won't give them to you ! Why should we ? The development of relationships between the characters is not important for the action, and then Daemon is not a good person or a good father, so it's not useful !You saying we're butchering the Demon character, but the truth is you're just in love with Matt Smith who looks good in his wig.

Seriously, what is their purpose in writing positive scenes related to Daemon and his daughters, and then cutting them out, but publishing the photos of those moments. How can they be surprised then that some fans are angry at their writing ?!

Do you realize that they still refuse Daemon, beyond the extremely discreet minimum, scenes related to him and his children ?! But besides giving scenes of affection between Otto and Alicent, and showing Aegon II crying for his son (even if for me it was more the heritage that he represented that interested Aegon II). Dare to tell me that this is not misplaced favoritism ?!

I'm tired of the writers having a personal agenda against the positive sides of Daemon from Fire and Blood. They seem to be carrying out a personal vendetta against GRRM's favorite character, the reason for which no one understands.

I also remind you that they do everything to give a darker appearance to Daemon and a brighter appearance to Aemond in HOTD, while in Fire and Blood it is the opposite. Aemond is meant to be Daemon's foil, his dark reflection. Essentially a compilation of almost every horrible thing Daemon has ever been accused of. This is why they have the same first name with only the D moving. In HOTD Aemond has lost his narrative role and I still wonder what purpose he is supposed to serve, other than being a bland version of Daemon that the writers seem to favor.

[lokisprettygirl]

Just gonna start by saying that I don't understand what show Daemon haters are watching, it's like one person says something and the rest of them run with it, they watch his scenes with their hate colored glasses. Like i have been seeing "Matt Smith in a wig" a lot which is not just an insult to Daemon but more so Matt and I feel embarrassed for the people using the phrase, a few days ago it never came up but then one person tagged him like that and since then I keep seeing it 🥴 people keep using words like gagged, humbled etc because again someone started the trend and rest of them followed.

None of the posts in Daemon Targaryen tag is a positive one so here's one, in the same breath I'm going to insult Rhaenyra first but hey I won't tag it because I am not looking to piss off Rhaenyra fans on purpose as Daemon haters do. But yeah that was truly stupid as fuck on her behalf to allow anyone to sit the dragon, like woman you don't know these people at all, you didn't spend even an hour with them, I know you're desperate but what are you going to do when they decide that they're the ones who are stronger than you in terms of power now? They're no longer common folks with nothing to boot for.

Now coming to Daemon i keep seeing that he was gagged and humbled which I don't see how? What scene did you watch? His haters literally have a boner for a 12 year old now because they think he gagged the worst man in the HOTD world as per them.

Oscar was shitting his pants when he had met Daemon first so the sudden courage he showed today was not inherent at all in him, the only reason he was able to speak up now was because

A. Daemon allowed it

B. He now has the power as a lord and Daemon needed it.

When oscar taunted him that daemon was hated, he literally didn't give a fuck about it, he smirked and clearly stated that.

He didn't require the love or respect of these idiots, he just needed their men. No Daemon wasn't tricked into killing blackwood, it was the right thing to do and it's what he should have done, not just for William's crimes but for also going against his command.

The only reason Oscar was able to speak so bravely was because Daemon didn't stop him, because he needed the army and he was able to get what he needed by allowing a twelve year old to do his bidding for him. If anything it was Daemon who prevailed in this situation as a more powerful man by the end of it because now he got what he required from these fools but hey let's just ride the hate train because most of you are incapable of reading the scene for what it is. He even respected Oscar in a way because he could see that the kid wasn't a fool and had the ability to manipulate his people.

[tessarionbestgirl]

Harry pretty face does wonders for his character lmfao.

That’s it! They can come up with as many convoluted excuses as they want but this is literally what it comes down to!

Team Green has:

Fabien Frankel: the no.1 Flyn Rider fancast, haters on twitter were literally complaining that it’s not fair they cast him as Criston because he’s too handsome 😝

Ewan Mitchell: the elvish king of every girl’s sexual fantasy

Tom Glynn-Carney: male version of Olivia Cooke, enough said

Freddie Fox: he’s a fox alright 😘

Rhys Ifans: can someone say daddy?

Who does Team Black have?

Matt Smith: he’s charismatic and a fantastic actor but he is not good looking, not as good looking as Team Green’s cast anyway. The blonde wig makes it 100x worse, he isn’t handsome that’s just a fact 🤷🏽‍♀️

Ryan Corr: the only attractive man in Team Black had 5 minutes of screen time

Steve Toussaint: I feel they intentionally made him less appealing on the show

Clinton Liberty: Addam isn’t relevant enough to Team Black for them to be invested in him

So yes, all Team Black has is pretty boy Harry Collett and despite their airs of feminism this is deep down all they care about.

"Rhys Ifans: can someone say daddy?"

I usually don't care that much for face cards. I think a character can be attractive even if not beautiful in a conventional way . It all depends when certain energy you bring to the screen. And while I did have a huge crush on Matt on my team years because of Doctor Who.

I have to agree. 🤷

It all team feminism for them until their favourite war criminal does something horrible, and then, all is forgiven because they have a crush on them, even if is femicide.

Also, I think TG actors does have something about them that over shines TB actors. And more than looking good or not, they have chemistry and that you can't fake out. When I watched the interviews. Tb actors I get a huge energy of "we are coworkers and we are doing pr" meanwhile TG actors do have chemistry with each other and looks like they bonded in the bts and that is why I think hbo truly used them a lot to marketing this season. Is the same reason you always will find Gwendoline and Nikolaj back in the day doing interviews together.

And that show on screen too. What is not necessarily true. It was here. There is way more a sense of familiarity in tg even if disfuncional as hell, then Tb. Like, when you see Jace and Baela interacting do you believe you see two people that have grown up together and are in love with each other for years?

[zalrb]

Along the same lines as the other anon, but For a show that says "pick your favorite war criminal" they're certainly very afraid to let their characters make dark decisions *especially* if they're women.

Rhaenys who wanted to defend Rhaenyra's claim in the bookshas the opportunity to avoid war and washes her hands , Alicent who organizes the usurpation is not only losing power at a gigantic rate but never had it, Half of the murders occurred by accidents, Rhaenyra asking for the greens' head after her daughter's death is surprisingly calm. Everyone is trying to be good rulers for reasons.

Damn they promised me blood, mayhem and war crimes, so where is it? It's not even really about being explicit about it, just committing to the narrative!! Blood and cheese is not about wanting to see a child's head, it is about the horror of choice, of Helaena's helplessness, of watching the war escalate and escalate because of an eye for an eye. Is it too much to ask!! Why do series now alternate between dialogues that explain to me what I'm seeing because they don't allow the scenes to speak and breathe or force the viewer to do mental gymnastics because they didn't say or showed nothing?!

Half of the murders occurred by accidents [...] Damn they promised me blood, mayhem and war crimes, so where is it?

This. EXACTLY. I am so bored??

Everything is so incredibly passive and that doesn't make anything that's happening interesting to me because without the intention behind the actions, it's just a show where a bunch of shit happens all the while feeling like literally nothing happened because there is no urgency, no characterization, nothing.

And if the point is that one miscommunication, one mistake can cause a war and tear a dynasty apart then a) the war actually has to be interesting? If there is no bloodshed then there needs to be intrigue. I remember watching Littlefinger and Varys go back and forth and being at the edge of my seat. We don't HAVE that now b) lean into the absurdity. Lean into the fact that this war keeps escalating and escalating over nothing, make me feel like this is getting out of hand and no one has a grip on what's going on, give me pandemonium because so far, I've just seen an old man who takes ten minutes to get to a throne, his brother just ... around in a war that lasted years that he ended in five minutes, his daughter who does nothing but complain, his wife who does nothing but complain and also get sexually exploited by men, their children who squabble, sex scene, sex scene, dragons, death, another death, matt smith being matt smith, A BOAR, dialogue about war, dragons, bad wigs. dragons. And maybe sometimes there are Black people (yay virtue signalling!). I'm sorry, I need more.

[doctorkinktraveller]

During the hiatus before filming 'The Time of the Doctor', Matt Smith starred in Lost River, which required a buzz cut, and him to shave off his iconic quiff.

As it had not grown back in time for his return to the show, he had to wear a wig for his final episode, identical to his normal hairstyle. Steven Moffat had joked that Matt was "under strict instructions to sit down, ball up his fists, and grow a quiff. But he let me down."

Ironically, Karen Gillan, who has a cameo at the end, also had to wear a wig, as she had to shave her own head for Guardians of the Galaxy.

She has often joked of her regret that the two couldn't "swap wigs" during the scene.

[shinceltyblewup]

God please stop showing me Matt Smith in that wretched wig

[northlandcleric]

House of the Dragon

More like: House of the Disappointment

[arabellasleopardcoat]

My thoughts after tonight's episode. SPOILERS AHEAD.

I intend to take notes through each episode to save me the pain of looking up the scripts or rewatching while I write. Also good to make sure the characters are charactering. Here goes the first episode (16/06!! Belated bday gift)

No comment on Cregan Stark. Very honorable, original Starks but amped up by ten. Awful wig.

Alicole!!! Oh god, oh god!! That man on his knees!! Implied to happen before. Nasty bussiness, but Criston's hair looks nice.

Rhaenyra's grief. Perfect. Emma D'Arcy deserves their Emmy for this episode alone

Parallels between Rhaenyra and Rhaenys. Nicely done. Grieve the same.

Corlys missing Luke :((( Also Alyn!!! Who seems to be older.

Aegon trying and failing to rule is pretty endearing. His smugness is funny, too. Tom Glynn Carrey knows his thing. I saw him in Dunkerke before and I wouldnz't think it is the same actor at all. He and Aemond compliment each other a lot, both move in very distinctive ways.

"He only wishes to please" Damn right Otto

Daemon and rage. My favorite combo. The scene with Mysaria? The hesitation? Then wanting to send her to the cells? Ser Erryk calling him out on his bias? Excellent. Same for Rhaenys. Overall, Daemon seems unable to see or understand anyone that doesn't react as he does. Everyone must grieve as he. Lovely insight. Also him ready to follow his Queen's orders for revenge? Delicious.

Jace with Rhaenyra!!! Luke's funeral, Baela and Rhaena stealing the show with just a second of screentime. My crush on Harry Collet got worse after seeing him with Joffrey.

Alicent lighting candles. Meh. The episode makes it harder to empathize with the Greens which is either bad writing or the writers have an agenda. She got on my nerves in this episode a bit, which us strange because I loved her last season.

Mysaria being dignified even in rags, very regal and I love that she is set on being her own woman. Good for her.

Daemon in the city bribing Goldcloaks, which were always his, in his little murder cape. Ugh. Blood and Cheese but he orders them to find Aemond and off screen kill the kids?? Yup, writers love him. Confirmed, they have an agenda.

Aemond plotting with Cole, both absolutely bloodthirsty. Both very dumb here, I think. Funny that Aemond and Alicent assess each other in the same way, both are "Angry" The cadence which they deliver the lines is even similar. His mother's son. Even in their choice of company. Cole.

Otto versus Aemond, interesting. I like the tone of voice of Otto's actor (Rhys, I think?) Very well spoken, and calm. I feared he was going to turn into a Tywin and I am glad he hasn't. I found Tywin terrifying. Otto may be, but he is less rude about it.

Aegon getting shitfaced on the Iron Throne, in a not so ergonomic position, yet without being cut.

Blood and Cheese. Fun. They are trying to murder each other, poor dog!!! I underestimated them, they are terrifying. Poor Helaena, always drawing the short stick. She told Aegon and he saw them pass, while getting drunk. At least they didn't taunt her so much. The sounds were sickening on their own, thank god it was off screen. Cole in the bed with Alicent!!!! When poor Helaena comes for help!!! ENOUGH. ENOUGH. THIS IS MURDER. It can't end there.

Final line: I came prepared for GOT'S levels of violence, I am glad it wasn't like that. I was ready to skip those, but it was nice that it wasn't necessary. Most of the things that made me uncomfortable in GOT (And why I never finished it) were the sexual violence scenes. Poor Dany.

Final final line: I leave with a new crush on Harry Collet, Matt Smith and Fabien Castel.

[lemonhemlock]

Why is it always Daemon stans... Why are they talking about a moral high ground

how do you think i feel... first time in my life i can't stan for matt smith. and i genuinely love his performance, all the acting choices he's made for daemon, his stupid wigs etc...

i have no one to fangirl over him with bc daemon stans tend to have the most deranged takes so i have to leave him all alone with the loonies

green matt smith fans show yourselves you have an ally in me

[ewanmitchellcrumbs]

The show really made daemon so attractive it’s a sin

Matt Smith was already a total dom daddy, putting him in that white wig was nothing short of scandalous.

[and-to-you-its-just-words]

The HOTD Cast and Their On Set Quirks (based on my experience working as a trailer AD)

DISCLAIMER: I don’t work on HOTD, nor have I worked with any of the cast. But I have worked as a trailer assistant director (AD who handles cast) for over 5 years and I’m making these impressions based off interviews and BTS the cast have done.

Milly Alcock - Is always late. She’s always a couple of minutes late getting into her shuttle in the morning and makes it to base mostly on time because after the first week the ADs start padding her travel time. If you need her to travel anywhere (set, hair/makeup, costume fitting) it’s always good to invite her five minutes before you need her so she gets where she needs to on time. Not the most annoying quirk, lots of actors do this, but still would make your day slightly more complicated.

Emily Carey - Asks a million and one questions. She wants to be prepared and do the best job she can. Likes to know how the day is going when she arrives, how much time before she’s needed in the chair, how soon until she travels. Once you realize this stems from nerves, you go out of your way to offer the information before she asks for it.

Fabien Frankel - He’s a wanderer. At base it’s not so bad because there’s only so many places he could be and nine times out of ten he’s having a smoke. But he wanders on set in between takes and on the days when base is walking distance from set the question “Does anyone have eyes on Fabien?” is common on the walkie. Given that the whole castle is one set, there’s a million places to hide and it ends up becoming a joke between him and the PAs about where he can go that they won’t find him. This one is fun if everyone is in one the joke but not so much on the days you have fifteen cast on set to watch.

Emma D’Arcy - Consistently comes back to their trailer in between takes. They try to tough it out being on set because they are the lead and there is a (self-imposed) standard to uphold. But they’re not built for large groups of people for long periods of time and the HOTD set is a lot of people. This is especially so if it’s a big day with a lot of lines for them on set. But they’re very good at informing the PAs where they’re going so you never lose Emma.

Olivia Cooke - Is never in her trailer when you go to invite her to set. She’s either in Emma’s trailer, gabbing in Hair/Makeup, or at the craft truck. It’s different from Fabien’s wandering because she genuinely doesn’t mean to cause any worry and when she finds out you’ve been looking for her she always apologizes profusely. After the first two weeks it becomes routine and you only worry about her whereabouts once all the regulars spots come up empty.

Paddy Considine - The most tended to cast member. Because he is in prosthetics more than any of the other cast members, it means he needs more tending to. After the first week, it’s established that he needs to eat breakfast before going into the chair. Breakfast is ordered and ready for him when he arrives. It’s harder to get him in the chair so early in the morning so you always lose a few minutes to that. It does leave you feeling a bit like a waitress after the third food run but once he’s through processing, he’s one of the chiller cast members so it balances out. Especially since you know Paddy doesn’t expect you to wait on him hand and foot.

Matt Smith - Grumbles about hair/makeup and after lunch touches. He’s not a fan of the wig, and doesn’t have the patience for the chair. If there is a way to spare him a few extra minutes of not going to hair/makeup, he appreciates it. Every day after lunch he grumbles about after lunch touches, asks if he has to. If this was a contemporary show, he might not need them but he’s in a wig so he has to. Not the worst quirk but after a few months you want to roll your eyes because come on, we do this every day.

Rhys Ifans - Waits until he hears the other actors leaving their trailers before he travels to set. This man has been around the block before and knows that set isn’t always actually ready when they call for cast. You knock, he waits, and when another trailer door opens, he swans out and heads to set.

Steve Toussaint - Asks you to text him when they’re ready on set but never answers his phone. It’s not an uncommon request for actors to make, but then he doesn’t answer when you’ve texted and as all the other cast members start to travel you worry that he didn’t see the text and time is being lost. But Steve wouldn’t mind being knocked for if he didn’t answer the text so you never lose too much time. Plus, an hour later he comes to you, apologizing immensely because he’s just now seen your text.

Eve Best - Needs a dressing warning. Eve will do and go wherever you ask her to when you ask her to, but she hates being in costume longer than she needs to be. Right at the beginning of the season she asks for a warning to get dressed and won’t get dressed on her own otherwise. She will also undress herself over lunch every day that she’s in and doesn’t care if there isn’t a costume person to help her out of the clothes, she somehow manages to get out of the corsets herself. This quirk can actually drive me personally bonkers if it’s a busy day with a lot of people but I imagine that Eve is otherwise one of the easiest cast members so it would be forgiven.