Needle was Robb and Bran and Rickon, her mother and her father, even Sansa. Needle was Winterfell’s grey walls, and the laughter of its people. Needle was the summer snows, Old Nan’s stories, the heart tree with its red leaves and scary face, the warm earthy smell of the glass gardens, the sound of the north wind rattling the shutters of her room. Needle was Jon Snow’s smile.


“You are in the Falcon Tower, Ser Harrold,” Alayne put in. Far away from Sweetrobin. That was intentional, she knew. Petyr Baelish did not leave such things to chance. “If it please you, I will show you to your chambers myself.” This time her eyes met Harry’s. She smiled just for him, and said a silent prayer to the Maiden. Please, he doesn’t need to love me, just make him like me, just a little, that would be enough for now.

kind of cant stop thinking about sansa in that tavern drinking ale. what would drunk sansa be like? flirty drunk? would she cry? would she tell the young bard in the corner to strike up a cord on his mandelin so she can stand up on the table and beatbox a rendition of the rains of castamere?

i need to know

anonymous asked:

So do you think it's a generational thing why many people just don't understand the subtlety of Asami's characterization? Or have these people just not been exposed to subtle characters in anime and tv shows? I pretty much grew up in a generation that watched shows like Utena and Noir (anime), among others, that require/demand that you pay attention to everything a character does, says, and doesn't say because characters like Anthy and Mireille are not blatantly obvious. Is that currently lost?

I don’t think it’s generational at all, no. I don’t know much about the shows you mentioned, but I can say with my experience defending Sansa in the ASOIAF, this is a certain kind of character that is difficult for some to gravitate towards. And on the visual medium I do understand it, because Asami can seem like an inscrutable character, I suppose.

Actually A^3 send me a message awhile back about this, and just to pull quick snippets that I think apply:

Our cultural values are heavily skewed toward sensory pleasure, public success, and individual agency. Think about the content of our blockbuster movies or the types of people who become famous or earn the biggest paychecks in our society.

Introverted people are married to their inner selves and this strength of character is not obvious until tested outwardly. Asami is just another vapidly pretty face until she stands up to her father and electrocutes a few people with her glove, right? The only introverted heroes our culture recognizes are the ones who produce tangible results. For example, the ones who can tackle intractable problems (visionaries, geniuses, or prophets) or the ones who can kick-ass and take names (lone wolf crusaders or martial arts masters).

The recent fad of placing women into traditionally male action roles speaks to our collective expectations about who can be strong introverts. Women are supposed to be social and emotional, so seeing them mercilessly killing people as stoic action heroes is a novelty. Introverted women who are perceptive and empathetic get the shortest end of the stick. They are seen as weak and incapable, even though they often silently endure the most heinous injustices and heartaches in our stories. Their silence makes them complicit in their own suffering. Sansa is the perfect example, but watch how people will love her once she inevitably starts to assert herself, as though she was not the same person before that outward display.

I could write a much, much longer post on this, and probably will at some point. I don’t think it’s any great moral failing if someone doesn’t like Asami. But I do think it’s an undervaluing of a skill-set that is not typically viewed as heroic. You can argue its merits in a narrative, but I personally find it incredibly compelling. But maybe I’m just being self-serving?


game of thrones houses + vincent van gogh

house stark - starry night over the rhone
house targaryen - starry night
house lannister - wheat field behind saint paul hospital with a reaper
house baratheon - a lane in the public garden at arles
house greyjoy - fishing boats at sea
house martell - sunflowers

dedicated for:
kingslayer & irl illuminati


Twelfthdoctvr’s Blog Anniversary Gifset

I missed my blog’s second anniversary at the beginning of April because of exams but I really wanted to make something based on all the fandoms I’ve fallen into over the past 2 years. Thank you to all that follow me and to those that I follow you all make my time on here so fun. :)

title: roadtrip (2/2.5)

rating: t+s

summary: Emma and Killian are colleagues, summoned to a client conference meet a ways away. Killian cajoles her into a roadtrip, claiming they have too much unused leave anyway, and “what’s life without a little adventure, swan?” … except, nothing goes as planned, because his car breaks down at this town called Storybrooke, and the only B&B with only one room available only admits married couples, and well… when in rome…

a/n - there will be a little coda that i will add on in the coming week - after this episode kills me, probably. 

also on a03 from the start here.

The irritation refuses to dissipate, and he swipes, more than half asleep, at the ticklish thing by his nose. It’s when his fingers tangle in a mess of hair (that decidedly doesn’t belong to him), does the universe materialise in his consciousness - the hint of some spice in her hair, the warmth length of her body against his, his arms around her waist, one hand buried underneath their bodies in what will surely result in cramps later - he could care less, honestly, because this is one sure hell of a way to wake. 

Killian’s always been an early riser, having a brother in the British Navy would do that to you, but this. This is worth sleeping in for. He is loathe to move, and save for a slight shift in his hips, - a necessary caution given poking her awake would make no one’s morning, Killian doesn’t budge an inch, ignoring the world and basking in being exactly where he wants to be. 

He doesn’t fall back into sleep, yet beneath his closed eyelids different visions of his future dances before him. The two of them, and a boy and a girl, and a dog, it’s cliche but by George, does he want it. Or maybe he’ll finally quit and become a freelancer - all their job needs is a good Wifi connection anyway - and buy a boat and sail the world with her by his side. Or maybe —

“Mmrngh,” she grunts softly, head turning into his chest as she burrows even closer into him. Killian stills, trying to even out his breathing because he knows there’s no way she’s not going to freak out. 

‘One cricket,’  he counts in his head, “two crickets, three crickets…”

“Shit,” he hears, right on cue, as her entire body tenses. 

Keep reading


So since there apparently is quite a debate going on, I thought I should throw in my perspective as well. I’m doing this mostly because of tagging, for me, they will always be Creepyship or creepyshipping. (Problem with that is, that it is also used by other ships, although mostly for Sansa and Petyr).
The problem I see with Satyr is, that the tag is pretty much used for all kinds of things connected to the mythological Satyr.
I mean, it’s pretty awesome that Sansa/Petyr turns into something that actually exits (like Pepperony for Pepper/Tony in Iron Man) - but in this case it’s a bit tiring to look for that in the taggs.
I know that some talk about Innocence & Experience, and while I totally love that about them - I think it’s too vague. 
What I really like is Gruesome Twosome since Sophie Turner made that up herself, so if we are really looking for a shipnae for this most amazing, terrifying ship, well I’d vote for Gruesome Twosome.
Let me know what you think about that and with what you tag your Petyr/Sansa posts :)