#the girl from up north

[faaun]

what draws you back to your country what draws you back to your land when i was a kid i told myself if i ever left iran i'd never go back 2 years into living in the UK i started looking at news on iran again 10 years in and i visited it for the first time again and today i heard an iranian mother talk in farsi to her child on the train to london the way my mother used to and i wanted to cry i wanted to ask her whether they're still cutting the mountaintops whether the lakes are still drying today i showed the person i was with pictures of waterfalls and palaces and forests and snow-white north something odd pulls me back with increasing force i can't ignore it ever again

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[crownrots]

🍇 PRINCESS RAENESSA TARGARYEN (75 AC - 133 AC) (template by @kanos)

↳ Raenessa Targaryen was born in 75 AC to Prince Aemon Targaryen and his wife, Jocelyn Baratheon. She is the older twin sister of Princess Rhaela Targaryen, and younger sibling to Princess Rhaenys Targaryen.

Meek and emotional, she was oft called The Weeping Dragon behind her back. Ever compared to her two sisters, she lingered in their shadow for most of her life, trailing behind them and cleaning up their messes or sifting though the scraps they left behind.

Her cradle egg, as green as Wildfire, hatched shortly after her birth and finally in 91 AC at the age of sixteen, the timid Targaryen finally took the beast to mount. The Green Jewel of Dragonstone, Vysera, as she named her, seemed to be just as timid as her rider, but was fiercely protective of the young woman. While barely ridden due to Raenessa's distrustful nature, the dragon and rider shared a bond that was as close and unique as any other.

In 94 AC, at the age of nineteen, she wed Donnal Redwyne. The two struggled for years to have a viable pregnancy, and after many failed attempts, their prayers were finally answered when she gave birth to a girl in 113 AC, whom they named Daenys.

Unfortunately, their new found bliss was cut short as a fever took Donnal Redwyne's life mere weeks after Raenessa had given birth. The now widowed mother was never quite the same after that and as years passed she rarely let her daughter out of her sight. Months following the tragic loss, Queen Alicent extended an invitation towards her and the still young child, offering them a residence in the capitol should they want it. Raenessa graciously accepted and the mother and child lived in relative happiness and great comfort for many years.

When the Targaryen civil war commenced in 132 AC, Raenessa declared her support for King Aegon II Targaryen and The Greens, though, suffers a great loss at many turns.

In the days following the slaying of her older sister and her dragon at the Battle of Rooks Rest, Raenessa used the exodus of small folk from King’s Landing to flee the capitol. Amid orders from the Prince Regent, Aemond Targaryen, to seal the city, she managed to slip through undetected. Still reeling in shock and grief, she declared for her cousin, Rhaenyra Targaryen, but subsequently found herself locked in the cells beneath Dragonstone for a time, her untimely and sudden arrival sending ripples of confusion though the Queen’s small council.

Back in King’s Landing, Raenessa was branded a traitor and in retaliation Criston Cole suggests her dragon, Vysera, be slain and her remains fed to King Aegon's mount, Sunfyre, for her treachery.

In 133 AC, after failing to be reunited with her daughter, Daenys, until Queen Rhaenyra takes King's Landing, she suffers another great loss; one that will prove her last. During the riots lead by The Shepherd, Daenys would retreat to the Dragonpit to ensure the safety of her own dragon, Duskwing. Her demise was said to be particularly gruesome, the young woman and her unborn child crushed underfoot by her frightened dragon in its panic as the mob descended upon the chained beasts.

Overcome with grief, Raenessa Targaryen ended her own life just days later, through means of poison, succumbing to the deadly concoction nestled among her daughter's belongings.

tag list (ask to be added or removed 💞): @queennymeria @laiostoudenn @roberthouse69 @wardsables @thedeadthree @statichvm @frankwoods @josephzeppeli @countessrooster @lucky-107 @cptcassian @arborstone

[arohuacheng]

k sorry i’m legitimately so insane about pei ming and shi qingxuan though. pei ming as someone who’s not just a womanizer but someone responsible and dear enough to shi wudu for That Man to essentially appoint him as qingxuan’s guardian should anything happen to him… for pei ming to take that responsibility on whole-heartedly, trying to protect shi qingxuan and keep them out of trouble and lead them on the right path even from the very beginning of the story… he’s trying to keep her out of the whole mess with pei su he’s trying to make sure that she does what she needs to do to survive in heaven (she has never learned that one needs to be cruel and unjust to advance because her brother has done all the unjust cruelty for her) he’s trying to make sure that he fulfills that trust that was placed in him and that’s all before there’s even a hint of anything that would incapacitate shi wudu. and sqx sees this and she must know at least some of it but she hates him. just doesn’t like his personality. i am out of my fucking miiiind

[gildedtragedies]

my nanny kid just walked up to me and said "hi, you!" and that's what i always say to her and i am afhskfieijio i love this toddler with my entire soul

[bibleofficial]

god bless sleeping 12hrs nightly

[teathattast]

So we're ok, we're fine

Baby I'm here to stop your crying

Chase all the ghosts from your head

I'm stronger than the monster beneath your bed

Smarter than the tricks played on your heart

Look at them together then we'll take them apart

Adding up the total of a love that's true

Multiply life by the power of two

[icewindandboringhorror]

Lineup of all of the characters that appear long enough to need a visual representation of them in the game lol

[puthyflapps]

Swifties prove everyday that they’re the dumbest people on the internet and that’s really saying something cuz I’ve dealt directly with blarkes

[carefulfears]

thinking about mulder and scully on the run, traveling from motel to motel like they did for years, hiding instead of seeking. moving from place to place when there is nowhere that is free of haunting; there is nowhere that they haven’t been already, nowhere they haven’t suffered already, nowhere they haven’t almost died already. migrating through memories in reverse. a cemetery in oregon, a bench in pennsylvania, a ghost town in georgia; the country a constellation of lost time, of something they were building that ended in nothing.

[vadergf]

I get you with the lion king hear me out 🚶🏾

Tbhh my hear me out on that list was kovu

[partiallypearl]

the country artists i think jo taylor would like the most are kelsea ballerini, megan moroney, kacey musgraves and carrie underwood

[mummersblade]

I wonder if Sansa never mentioning/thinking of Old Nan across all the books goes in hand with her inability to comprehend things for their ugly reality, reverting to pretty songs and the ignorance they signify instead.

Meanwhile the other Stark POVs are all thinking of Old Nan's stories as recent as ADwD. Arya recounts her stories about Hardhome when apprenticing with the HOBAW and providing information about the wildlings, Jon thinks about the ice dragons from Old Nan's tales, and Bran likens her stories with the ones shared by Bloodraven.

Old Nan contextualizes their settings. Arya thinks of her stories about Harrenhal when she is imprisoned there, and Jon thinks of her stories when he tells Ygritte about Queenscrown being named from Queen Alysanne on her visit to the Wall, and the same place for Bran and the Reeds. What more, Old Nan prepares them for monsters and magic.

Old Nan's stories (as remembered by Bran, Arya, and Jon) are brutal and terrifying. They are of frightful and oft forgotten things. They memorialize that which others may wish to forget. Juxtapose this to Sansa, who does not once think of Old Nan or recall any of her stories, despite her obvious love for 'the songs.' Clearly Sansa only cares about the romantic, happy songs, or at least the ones that make tragedy pretty. The naive ones that never confront the ugly side of things; not the Others, not the North far beyond the Wall, not the magic of the First Men, all of which the other Starks are connected to one way or another by ADwD. Sansa, who represses and revises and romanticizes (see: the unkiss, Arya as the sole source of blame for Lady's death, poisoning Robin), cannot fathom the horrors that are due to arrive in all their apocalyptic doom, which is another reason why she is entirely unqualified to have any leadership role in the face of this enemy. It's in the same vein as Arya's crypt story with Jon scaring the young kids; Sansa's instinct is to run from the supernatural.

[ratatatastic]

for everytime swaggy uses we are the champions in any post i think we need to shoot him with a paintball gun in the back

[eclipsecrowned]

thinking once again about the discord gag of mira coming to marriageable age well before her cousins and so at feasts a lot of lower houses and third or fourth sons all crowd her table as she just thousand yard stares and tries in vain to telepathically link with one of her cousins 'save me.' the bole boy is about to bore her to tears and smallj0n is going to put his fist through the table slamming alcohol and sharing news of his daring feats.

[bibleofficial]

i’m not crazy abt youtubers but like the 1 person that i just SEE & UNDERSTAND like 🤝 is drew gooden & its for the sole reason that he will Always find a way to feature runescape in a video, be it explicitly talking about osrs or slipping in a song from the soundtrack as background music