#our fire queen

[acourtofquestions]

“A queen who plays with fire”

[tenthmuseondine]

Rhaenyra Targaryen | The Black Queen

Hair inspired by "Portrait of a Young Woman" (1480) by Sandro Botticelli.

"Rhaenyra did have the silver-gold hair of the Targaryens, which she wore long and braided in the manner of Aegon the First's warrior wife Visenya."

[asoiafpalestine]

Our third art piece is…

Rhaenyra Targaryen in her final, powerful moments by vazdelart on twt!

if you’d like a comm from a random member of our team, donate 15 CAD or more to Siraj and send us the receipt. Check our pinned for more information!

[usikunox]

🔥In-Fearne-o🔥

[governmentmandatedryujinstan420]

I FORGOT TO THROW OUT AFTER THE EPISODE RELEASED NOOOOOOOOOOOOOOOOO

[yaralulu]

Sjm had the chance to show us that something was happening between vassa and lucien when cassian visited them in acosf but instead we got jurian teasing vassa and lucien literally playing third wheel.Sjm could’ve veryyy easily made it so lucien was the one doing the teasing but she didn’t.She had her shot and she most definitely did not shoot it.Not a single indication of vassien in that scene,just proof of what lucien has been telling us since acofas—vassa and jurian want to smash 🤷.

[ilreleonewikiart]

TDIOBCB challenge - day 22:

Aegon and Daenaera's wedding in 136 AC

"The highly anticipated union between Prince Aegon Targaryen and Lady Daenaera Velaryon was a grand spectacle, unparalleled and captivating the hearts of all fortunate enough to bear witness. The Dragonpit, the sole edifice in the entire capital city capable of accommodating the nearly seventy thousand guests, overflowed with exuberance and anticipation as the two young lovers made their entrance. (…) The clamour was momentarily silenced by the resounding roar of a dragon, signifying the arrival of the bridegroom. The world seemed to hold its breath as Crown Prince Aegon Targaryen, adorned in a simple yet regal ensemble of dark blue velvet and golden filigree, strode into the Dragonpit.(…) Innumerable songs and artworks would emerge in the years that followed, all striving to immortalize that precise instant when every soul, from the foremost to the rearmost, pivoted to behold the entrance of the youthful and graceful bride. Nevertheless, words alone proved feeble in capturing the awe-inspiring spectacle that unfolded within those grand walls on that spring morning. The bride, the only child of the late Lady Laena, with her flawless visage adorned with clear, brilliant blue eyes and a cascade of the purest silver hair, appeared as if plucked from the pages of a tome, her very presence an embodiment of beauty.  (…) But it was the magnificent gown she wore, concealed mostly beneath her house's sigil-adorned cloak, that attracted all the bulk of the attention, stirring deep envy and boundless admiration among many a lady and noblewoman. It was clear to all, even the most unrefined, that the gown was an exemplar of craftsmanship and quality; a far cry from the pedestrian attire donned by noblewomen in the countryside, woven from fabrics procured from merchants of dubious repute, in their delusion of appearing as capital ladies. This exquisite creation was hewn from genuine and precious white silk sourced from the distant isle of Leng, wich under the sun's gaze, gleamed with blue and silver hues, akin to summer sea waves. The fabric, inherently precious, was adorned throughout with intricate undulating silver embroideries, reminiscent of the tranquil ebb and flow of ocean tides, a testament to the artistry of Myrish weavers; even the jewellery was of an exceptional nature, forged from the most precious shells, the whitest mother-of-pearl, and the most delicate corals, all procured from the shores of Driftmark, specially presented by her cousin, the Lord, for this momentous occasion. (…) The prince and his princess looked ethereal, as if they were celestial beings brought down to grace the mortal realm. The splendor of the late morning light, filtered through the large oval opening in the center of the colossal stone dome above them, bathed them in a radiant glow, making them shine like stars in the night sky. The mere sight of the kiss they exchanged sent the whole arena into raptures."

 - from TDIOBCB chp 2

(warning: these illustrations are inspired by an AU Divergence and have nothing to do with canon (book or tv show) events and are not meant to be reposted outside of their contest)

[brainrotcharacters]

tell me I'm wrong

[ilreleonewikia13]

◌TDIOBCB chapters as gifsets ↪

∯ C H A P T E R 2 : The Antefact

It had been precisely 136 years since the Conquest of Aegon Targaryen when the Seven Kingdoms once again found themselves in the throes of turmoil, bracing for the arrival of another awe-inspiring tempest, bearing the same name as its predecessor. The highly anticipated union between Prince Aegon Targaryen and Lady Daenaera Velaryon was a grand spectacle, unparalleled and captivating the hearts of all fortunate enough to bear witness. The Dragonpit, the sole edifice in the entire capital city capable of accommodating the nearly seventy thousand guests, overflowed with exuberance and anticipation as the two young lovers made their entrance. - (x)

[castielsprostate]

who cares if that's his boss let them fuck!!!!!!!!!!!!!! and let them!!!!!! be!!!!!!!! in!!!!!!!!! love!!!!!!!!!!!!

[therealmsdarling]

❛ 𝖗𝖍𝖆𝖊𝖓𝖞𝖗𝖆 𝖆𝖑𝖜𝖆𝖞𝖘 𝖉𝖗𝖊𝖘𝖘𝖊𝖉 𝖗𝖎𝖈𝖍𝖑𝖞, 𝖋𝖆𝖛𝖔𝖗𝖎𝖓𝖌 𝖕𝖚𝖗𝖕𝖑𝖊 𝖆𝖓𝖉 𝖒𝖆𝖗𝖔𝖔𝖓 𝖛𝖊𝖑𝖛𝖊𝖙𝖘 𝖆𝖓𝖉 𝖌𝖔𝖑𝖉𝖊𝖓 𝖒𝖞𝖗𝖎𝖘𝖍 𝖑𝖆𝖈𝖊 𝖎𝖓 𝖎𝖓𝖙𝖗𝖎𝖈𝖆𝖙𝖊 𝖕𝖆𝖙𝖙𝖊𝖗𝖓𝖘. 𝖍𝖊𝖗 𝖇𝖔𝖉𝖎𝖈𝖊 𝖔𝖋𝖙𝖊𝖓 𝖌𝖑𝖎𝖙𝖙𝖊𝖗𝖊𝖉 𝖜𝖎𝖙𝖍 𝖕𝖊𝖆𝖗𝖑𝖘 𝖆𝖓𝖉 𝖉𝖎𝖆𝖒𝖔𝖓𝖉𝖘, 𝖆𝖓𝖉 𝖙𝖍𝖊𝖗𝖊 𝖜𝖊𝖗𝖊 𝖆𝖑𝖜𝖆𝖞𝖘 𝖗𝖎𝖓𝖌𝖘 𝖔𝖓 𝖍𝖊𝖗 𝖋𝖎𝖓𝖌𝖊𝖗𝖘. 𝖜𝖍𝖊𝖓𝖊𝖛𝖊𝖗 𝖘𝖍𝖊 𝖜𝖆𝖘 𝖆𝖓𝖝𝖎𝖔𝖚𝖘, 𝖘𝖍𝖊 𝖜𝖔𝖚𝖑𝖉 𝖙𝖚𝖗𝖓 𝖙𝖍𝖊𝖒 𝖈𝖔𝖒𝖕𝖚𝖑𝖘𝖎𝖛𝖊𝖑𝖞 𝖆𝖗𝖔𝖚𝖓𝖉 𝖍𝖊𝖗 𝖋𝖎𝖓𝖌𝖊𝖗𝖘. 𝖉𝖚𝖗𝖎𝖓𝖌 𝖙𝖍𝖊 𝖉𝖆𝖓𝖈𝖊 𝖔𝖋 𝖙𝖍𝖊 𝖉𝖗𝖆𝖌𝖔𝖓𝖘, 𝖘𝖍𝖊 𝖜𝖔𝖗𝖊 𝖙𝖍𝖊 𝖈𝖗𝖔𝖜𝖓 𝖔𝖋 𝖍𝖊𝖗 𝖋𝖆𝖙𝖍𝖊𝖗, 𝖛𝖎𝖘𝖊𝖗𝖞𝖘 𝖎, 𝖜𝖍𝖎𝖈𝖍 𝖍𝖆𝖉 𝖋𝖎𝖗𝖘𝖙 𝖇𝖊𝖊𝖓 𝖜𝖔𝖗𝖓 𝖇𝖞 𝖐𝖎𝖓𝖌 𝖏𝖆𝖊𝖍𝖆𝖊𝖗𝖞𝖘 𝖎 𝖙𝖆𝖗𝖌𝖆𝖗𝖞𝖊𝖓. ❜

DRAGONSTONE, 130 AC.

* ᶜʰᵃʳᵃᶜᵗᵉʳ ᵈᵉˢᶦᵍⁿ ⁿᵒᵗᵉˢ.

wdym by saying ' if george included rhaenyra's costumes description in the book that doesn't mean you can turn her into a historically inaccurate mix of rococo and any medieval court wearer!! '

i can and i will.

* ᶜʰᵃʳᵃᶜᵗᵉʳ ᵈᵉˢᶦᵍⁿ ᶠᶦⁿᵃˡ. 𓆰♨𓆪

this is me praying that i'm creative

btw if you guys wanna see my designs of other characters just go to submissions!!

[acourtofquestions]

I am a descendant of Ranthia Drahl, Queen of Embers. She is with me now and I am not afraid. My friends are behind me, and I will protect them. My friends are with me and I am not afraid. My friends are with me and I am not afraid.

My friends are with me and I am not afraid.

[witchesnet]

QUEEN RAVENNA Snow White and The Huntsman (2012)

[stellacaerulea]

People talk about Love Nikki's blood curse as something horrifying as if it wasn't the one thing preventing the story from descending into the Tarantino levels of gratuitous violence Shining Nikki has

[ride-thedragon]

BAELA, RHAENA, AND THE LOSS OF LAENA.

I have to put in the work to read between the lines because the show runners hate my happiness. That being said, it has made me hyperfocus on my babies and their less than stellar hair.

Now, of all the things I have and could say about it, I do think there is an effort to display who the girls are after Laena's death.

This has to do with the locs they have when we meet them.

More than likely, Laena is they reason they have locs in Pentos. Whether she specifically does them or just gets someone to do it, it is a style in the series that is attributed to Driftmark. All of the men on Driftmark have them, especially notably Laenor, who is clearly close to Laena.

Now they are not the easiest style to maintain, especially in a place where it is not as common to have them but Laena makes sure both her girls are connected to their heritage through their hair even when it is not a style she herself has had throught the show.

But I think the direction they go with this understanding when we see the girls six years later is supposed to give us an indication of who they are.

Rhaena.

Rhaena was closer to Laena than she was to Daemon. The only scene we have with Laena and a child alone is with her. And she is obviously devastated when we see her again, that was the parent she was close to. So in the six year time jump, we see that even though they are in Westeros and that she specifically is not on Driftmark, she still maintains the locs she had with Laena.

It is also an active effort on her part because, like in Pentos, on Dragonstone, there aren't many people who would need to know how to loc hair.

It's also notable how she doesn't stay on Driftmark like Baela, the way her mother wanted she instead stays with Daemon and the Dragonstone people.

I completely headcanon this because she is still grieving her mother. Neither of those girls call Rhaenyra by her name,she is always their queen,but for her, it means preserving the memories she has not being surrounded by things they never get to experience together. Laena wanted to raise her kids on Driftmark with Daemon. She wanted them to be entitled to the place they held as ladies in this society and while Rhaena does get that it comes at the cost of Laena.

Baela.

The girls are seemingly very close to the Velaryon boys, but Baela stays at her grandmother's side like her mother wanted.

So with Baela, we start off with the locs as well. But a thing to note is that while in the books Baela is Daemon writ small, in the show so far, she's Laena’s mini me.

So when they leave Pentos and go to Driftmark, she stays there as a ward.

Like Laena wanted, Baela is seemingly raised from then by Rhaenys on Driftmark and becomes a credit to the house, so much so that Rhaenys is entitled to some say over who she will marry.

With her hair, however, and by extension her personality, she becomes a mini Laena. She let go of the locs for the more traditional curls Laena had. While it would be easier to maintain the locs on Driftmark, she doesn't.

This change in her is also brought back up in the deleted scene we got with Bethany and Eve, Baela and Rhaenys, where she says she's seen her daughter for the first time in years. That's what Laena wanted for her daughters. That's their birthright.

She also notably does not call Rhaenyra by her name in this scene. They do respect her as their queen but completely logically due to the fact that Rhaneyra marries their father while they are still in mouring clothes. They don't seem to cross the threshold of Rhaenyra being a mother figure to them.

However, to discredit the show without that line in the canon timelime, this change with Baela reads as a disregard to her character rather than an indicator that it's Laena's influence on her. It also reads as them blatantly disliking Rhaenyra rather than them holding her at an understandable distance when they meet. She is their queen, but for someone who was pregnant with and who had just lost their half-sister, they don't seem to like her past general respect and fondnes for their respective betrothed.

I do, however, also love that we see her arguing with Vaemond like Laenor, her mother's seemingly very close to brother.

Overall, I think and have said this before entire stories are told with hair in ASOIAF canon. I don't think this reading is entirely coincidental. However, with the number of scenes that were removed, the way these girls play in and operate with the story is left hollow and vacant. I shouldn't have to depend on deleted scenes and headcanons to make what could have been such a beautiful depiction of love and remembrance past grief read like a plot point.

Laena and her daughters, Laenor and his sons and all of the characters that were sidelined to get to the war, deserved 100 times better and more effort when it came to the story. Especially because they are so pivotal when it comes to the legacy of the houses of Old Valyria.

[millennial-crone-ao3]

The women of the Northern Court as of chapter one of The Queen and the White Wolf.

Lady Fryga of House Magnar. Lady-in-waiting to the Queen.

Ser Brienne of Tarth. Sworn Sword to the Queen.

Lady Barbrey of House Dustin. Member of the small council to the Queen.