whilst everyone’s getting pumped for season 5, I think we need to remember a couple of things

  • don’t forget lady stoneheart. don’t forget that the show runners actively decided to cut one of the most powerful character arcs of the book and force her, instead, into the nagging mother stereotype
  • don’t forget arianne martell. don’t forget that it looks like the show runners actively decided to cut a powerful, feminine, kick ass woman of colour, who was next in the line of succession
  • don’t forget that her storyline was all about liberating myrcella and crowning her under dornish law, where women have the same inheritance rights as men, and aren’t passed over in favour of their younger male siblings. don’t forget that her entire storyline focused on females empowering other females.
  • don’t forget that it looks like they’re giving that same storyline to her younger male sibling, who they have gone out of their way to age up so he fits the role, and the story will now probably be “dashing young prince-to-be kidnaps damsel in distress”
  • don’t forget the jamie/cersei rape scene. don’t forget that the show runners actively made the decision to change the story and make that scene include rape.
  • don’t forget that mance rayder had a wife called dalla, and that she had a sister called val and that they were both important leading characters in jon’s story. don’t forget that the show runners actively made the decision to cut them out.
  • don’t forget the totally unnecessary changes to bran’s storyline. don’t forget the fact that rape and abuse just became part of the background set for most of those scenes. don’t forget that the show runners were on set, actively deciding that those scenes needed a little more male on female violence in the background.
  • don’t forget that natalia tena wanted osha to have a pubic wig because when the fuck would a wildling women shave her vagina and the show runners actively told her that wasn’t allowed.
  • don’t forget that they created a female character just to serve as a frequently nude prostitute, and that when the actress, esme bianco, refused to do any more nude scenes, the show runners fired her
  • don’t forget that she was then killed off in the most sexually violent, brutal, and demeaning way possible
  • don’t forget chataya and alayaya, a mother and daughter who were strong, sexual, and unashamedly so, and ran their own brothel. don’t forget that the show runners cut them out, too. don’t forget that the show runners have no problem with sex and prostitution so long as it’s on a man’s terms, and as soon as women are making the decisions, they don’t like it.
  • don’t forget that this show we love and watch and support perpetually goes out of its way to instigate violence against women, to take away their agency, their character, their rights, and their abilities. don’t forget that the show runners consciously make the decisions to demean women and use them as a way to dress the set. don’t forget that they take stories from women and give them to the men. don’t forget that they do not support and respect women the way we support and respect their show.
Why Sansa in Winterfell makes no sense for any player involved

Roose Bolton:

  • Only holds Winterfell based on Tywin granting him the position of Warden. Getting a letter that says “hey, I have Sansa Stark” (aka fugitive #1) and responding with anything but a raven to King’s Landing alerting them of a possible traitor in the Vale is a ridiculous gamble. We know Roose Bolton is a cautious and calculating man, and we know he only acted for the Red Wedding when he got assurances.


  • The same person who went to great lengths to sneak Sansa out of the capital is now sending a raven to one of the Lannister’s best allies at this point—which also happens to be the family that loathes the Starks and actively betrayed them—to inform them that Sansa Stark is alive and in the Vale?
  • Littlefinger wrote this letter so that Roose would agree to marry Sansa to Ramsay, which does absolutely nothing to strengthen Sansa’s claim in the North. In fact allying with a Bolton is likely to weaken the Northern opinion of her. It would make more sense at this point to declare Sansa Queen in the North, have the Vale rally to her, and ride to Winterfell collecting Northern Lords on the way.
  • Littlefinger knows Stannis is coming with his army to Winterfell and expects Stannis to win, and that after winning he’ll name Sansa “Wardeness of the North.” Why wouldn’t he try to get a letter to Stannis in that case, or at the least, why is he trying to put Sansa in what he knows is about to become an active battle zone? He knows Stannis will want the Stark name to strengthen hold in the North and assumes the man will win. There’s no reason Sansa couldn’t just stay in the Vale with the people who will protect her. If Stannis loses, then come up with a plan where maybe Sansa infiltrates the Boltons (which is still stupid).
  • Littlefinger gets absolutely nothing in return. He hands his biggest asset to Roose Bolton for an “alliance” (?) that doesn’t actually do anything. It doesn’t strengthen his power in the Vale, and marrying Sansa off to the son of the Warden of the North doesn’t put her (and by extension him) in a position of greater power at all.
  • Littlefinger didn’t do simple background research on Ramsay. He literally said the words “I haven’t heard much about you,” yet still arranged this marriage. Perhaps if he asked any Northern Lord on the way to Winterfell (like maybe someone from House Cerwyn when Ramsay just actively flayed the Lord) he could have guessed that this wouldn’t be a good idea. There’s a difference between being a “betting man” and making uninformed stabs in the dark.


  • Sansa has no reason to go along with this. She has the Vale Lords on her side, which is rather important in case Littlefinger mistreats her or say…arranges a marriage she doesn’t want. So she has plenty of agency here. She gains nothing from it: daughter-in-law of the Warden of the North is not exactly a politically powerful position. The only way this would make sense is if she’s an assassin being dropped in to slit throats in the night. And while there’s commentary from the costume designer about Sansa wearing a miniature Needle (seriously wtf), this really isn’t Sansa’s skillset. She agreed with absolutely no specifics, and not even knowing the full political situation (like Stannis’s impending attack).

Why this is terrible:

  • It casually smashes the characterizations of three very serious players in one fell swoop because they thought it would be more shocking to put Sansa in this situation. Apparently things like consistency and logic are nothing when you can have gasps.
On the Importance of "Alayne Stone," the Bastard

Based on these gifs.

Game of Thrones has just erased another very important facet of Sansa Stark’s storyline, that is, her hiding in the Vale as Alayne Stone, Petyr’s bastard daughter. Sansa being forced to give up her noble position has a lot of significance in the books, such as: 

  • Parallel with Jon Snow: once Sansa assumes her place as Alayne, a visible shift in Sansa’s language occurs. She not only begins to refer to Jon as her “half-brother” instead of “bastard brother,” she also begins to sympathize with his status as illegitimate and the harsh reality that comes with it.
  • Parallel with Arya Stark: the sisters, two sides of the same coin, both lose inherent parts of their identity that undoubtedly help shape them in the future. When Arya’s chapters start being named differently, so do Sansa’s. Both of them assume new names and new positions in society, which is so important that they both lose bits of what they wanted most. Arya is forced to give up things like her sword and face that symbolize her connection to family (father and half-brother), and Sansa is forced to give up both status, name, and physical appearance that is her connection to family (her mother, true born brothers).
  • Loss of nobility: her experience as Alayne is supposed to be humbling. She’s no longer the daughter of Ned Stark the Lord, nor the sister of Robb Stark the King. She’s a bastard, yes still of a noble, but only a “minor” noble (until Littlefinger inherits the Vale via Robyn anyway). She dresses more modestly, less like she usually enjoys. No one pays her any mind and she mixes in with the common folk, leading to the next point.
  • Fostering friendship with Mya Stone: since Mya is absent as of yet, we can probably guess that she’s not going to be very relevant in Sansa’s story, which is an incredible shame, because Mya was not only the first lowborn friend Sansa had, but also one of the few people who was genuine and honest with her, and helped her understand the world of commoners.
  • Marring her beauty: thus far, Sansa is noticed explicitly for her beautiful Tully looks, more specifically her red hair. When she becomes Alayne and dyes her hair brown, it makes her slightly less beautiful, and therefore less welcome to the privileges that come with being a conventionally attractive woman, plus a little bit of the relief of being less sexually noticed (though that certainly doesn’t stop several characters from threatening to rape her anyway). 
  • Isolation: In King’s Landing, she was widely known as Sansa Stark (for better or worse), but in the Vale, the main person who knows her identity is Petyr and that’s not only something that kind of scares Sansa, but it actually literally forms a split in her mind. When GRRM stops titling Sansa’s chapters with her name and starts titling them “Alayne,” it symbolizes the change happening in Sansa’s life, the distancing of herself from the girl she once was to the woman she is being forced to become. For example, one of the things Sansa does in her Alayne chapter is change her age. She literally says Alayne is someone who would be older than Sansa as she’s gone through more. 
  • The larger arc of identity: which is a pretty big one that is played upon constantly and repeatedly. Arya becomes Arry becomes Beth becomes the blind beggar, etc etc. Catelyn Tully becomes Lady Stoneheart. Bran loses himself to become a tree (?). Rickon loses his status to be basically raised by wildlings and cannibals (and his feral wolf). Jon Snow becomes Lord Commander. Without becoming the bastard, how can Sansa properly achieve that ultimate arc?

The show probably chose to change her bastard status (or at least change it to a less important part of her identity than niece, which is how she’s introduced first) because they didn’t want to confuse viewers. But I personally think it’s another fumble amongst the many they’ve already made to Sansa. Alayne Stone is important, it’s important for her to be a bastard daughter of a minor lord, it’s important for her to be treated like a commoner and have friends from a bastard tier like her, it’s important for her to make that differentiation in identity. Taking that away is seriously doing harm to her plotline. 

Apologizing for Porne: Their Father’s Daughters

Oh, the Show Sand Snakes, (the Sand Fakes, as I will call them) no one likes them.

Seriously, even the most sycophantic preseason reviews found a little room at the end to say something mean about the Sand Fakes. The most common comparison I’ve seen is to bad villains from a b-movie Conan rip off. They are simply AWFUL. Those horrible accents, (you have not known pain until you’ve tried to sit through a Kiwi delivering a monologue in a fake hispanic accent. Not even an oscar nomination can help you there) those stupid little sexy warrior outfits (you’re in the desert, you’re gonna get a sun burn!) and the random murder (sure, kill the guy who freely helped you, great idea!), I don’t think I have to explicate their horribleness. All I can do if throw up my arms and say “It’s not supposed to be this way!”

What the fuck is this?

The thing is, the Sand Snakes are not George R. R. Martin’s most brilliant literary creations. None of them is another Tyrion, or Sansa, or Ned, or even another Arianne. A lot of readers think they’re rather flat, and I think that’s mostly okay, secondary and tertiary characters in fiction just can’t be expected to be as well rounded as protagonists like Tyrion and Arianne.

There is an element of kind of “fantasy silliness” about the Sand Snakes, it’s true. Their “dangerousness” is a little overplayed and the way they’re all these perfect blends of one aspect of Oberyn’s personality and their mothers is very fantasy, if you know what I mean, but each is a distinct individual with a unique personality, and their function within the narrative serves a real thematic purpose.

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The stand out scene this week was Sansa as Alayne Stone in the Eyrie. Her scene was Lysa was truly heartbreaking, as we got to glimpse the real, young, excited, vaguely happy Sansa for the briefest of moments, before she realized that she had landed in another vipers’ nest again. For a brief moment, it looked like Sansa had found someone she could trust. Someone who would tell her things about her mother as a girl, and who would take care of her, and care for her well-being, and give her lemon cakes. And you can see the exact moment when she realizes that something might be amiss, when she stops smiling and speaking genuinely and starts reciting what she believes are the right words once again.

Lysa’s instability is terrifying to watch, but it’s Sansa’s denial of any relationship with Littlefinger that really hits you in the stomach. “I’m a stupid girl with stupid dreams,” she says, and although she attributes the words to Littlefinger, it’s clear that she’s speaking for herself, and crying over her naivety. She thought she had found someone who cared. She thought she was safe. But it was another stupid dream. She will never find safety. And although it’s interesting to see Sansa’s transition into someone who can play the game, who says the right words and wears the right expression and never ever ever reveals her true feelings, that glimpse of the child she still is and the happy person she could be was enough to highlight how cruel it all really is. Sansa is fourteen years old. She shouldn’t have to be a player. She shouldn’t have to try and do what Margaery does, but without a brother or a grandmother or many more years of practice and experience to support her. I’ve always been a fan of the Sansa: Queen of the North theory, but I think I’m going to switch allegiances, to Sansa: safe and happy at last.

Jon is NOT dead, I repeat, NOT dead.

I feel the need to expand on my earlier post saying that Jon is NOT dead, by adding that yes, I did read all the Kit Harrington interviews. I know he’s trimmed his hair. I see your evidence.

I still don’t believe Jon is dead. 

There’s a famous quote, and like many old quotes, no one at this point is sure who said it, but my first creative writing professor used to quote it at us all the time. It goes something like this:  “If a gun is on the mantle in the first act, it must go off in the third.”

Good writers (and I consider GRRM to be a good one, despite his tendency to get lost in his own story and his love affair with new characters) know this rule. They follow it. And the reason they do is because, if you don’t, readers feel cheated. You want the reader to feel things, yes. You want them to be surprised. Amazed. Happy. You’ll even take angry.

But you never want them to feel cheated.

If Jon’s parentage has been so widely teased and we get nothing ….I’ll feel cheated.

If Jon’s importance to the overall arc has been so clearly pointed out and it turns out to be a red herring …I’ll feel cheated.

If Melisandre is conveniently close to Jon, and yet she can’t bring him back for “reasons” ….I’ll feel cheated.

If this is the end of Jon Snow, we’ll ALL feel cheated, in a way we didn’t when they killed Ned, or Robb. And emotions are good things, you want your viewers/readers engaged. But you don’t want them to feel cheated. (Right Shonda Rhimes????!)

So, ignore Kit “I lie to people about GoT Spoilers” Harrington. If there is something else coming for Jon, he might not know it. They might not need the same actor. They might have told him to SHUT his MOUTH because, if GRRM is really close to finishing The Winds of Winter, they want the reveal about Jon to come from the author himself. It doesn’t matter. IGNORE THE ACTOR. IGNORE THE INTERVIEWS. 

Focus on the books. Go re-watch the tv show. They all send the same message, and that message is clear.

Jon Snow’s story is not over yet. 

I used to hate Jane Foster

I did. When I first saw Thor, I loved the movie. It was great. Except Jane. I couldn’t stand Jane. She was too much of what I thought of as a ‘damsel in distress’, even though, thinking back on it now, I don’t think she was ever actually in distress in the first movie (at least, no more than any other mere mortal in that little New Mexico town was).

Jane just wasn’t what I thought of as a 'strong’ female character. She was no Peggy or Sharon Carter or Maria Hill. She didn’t defeat the villain like Pepper Potts did in IM3. And she certainly wasn’t Natasha Romanov (no one is like Natasha Romanov). She was like Betty Ross; there only to be a love interest for the main character.

And then I was watching Thor: The Dark World, and I was hit with a realization.

Of course she’s not a 'strong’ character like Peggy Carter or Natasha Romanov.

She’s a scientist.

Before Thor came along and disrupted her life, she was a scientist studying out space and wormholes and whatever else (i’m not a scientist i have no idea). Natasha was made and bred into this world of spy and intrigue. Peggy Carter, Sharon Carter and Maria Hill are all women in military positions–Peggy with the Army (I think?) and Sharon and Maria with SHIELD. And Pepper, as amazing as she is, really only defeated Aldrich Killian because she was injected with Extremis. Jane Foster wasn’t made for this world of aliens and gods and superheroes. Jane doesn’t have what any of the other female Marvel characters have, which is the skills necessary to keep up with these types of characters.

You know what she does have? She has her science, and she has a neverending scientific curiosity.

When Jane is zapped into an alternate space, the first thing she does is investigate the weird cube thing there. She goes and sticks her finger in it, and she doesn’t start freaking out until the Aether sinks into her skin.

When she’s traveling the Bifrost, she looks about her in wonder and awe, because yes, she’s traveling in space, but this is also the culmination of her life’s work, absolutely proof that she was right, and you can just bet her brain was whirring as she added all that into place.

When she’s on the healing table in Asgard, she knows exactly what it is. You can hear the sneer in the Asgardian healer’s voice, can almost hear her thinking Oh this puny mortal thinks she’s so smart, but what does she know?, but Jane knows exactly what this device is. Asgardian science is so advanced it looks like magic to Midgardians but Jane still knows what it is.

She slaps Loki. This is a being who invaded her world twice, who helped wipe a New Mexico town off the map and brought an army into New York. This is an alien on par with Thor, who could probably break her neck with a flick of his wrist. And she storms up and slaps him. That’s brave. A little reckless and foolhardy, for the above-mentioned reasons, but brave. She’s not a cowering damsel by any means.

The only real time she’s anywhere close to being a damsel is when Loki hands her over to Malakith, which was actually just part of the plan, so it hardly even counts.

Even during the final battle, Jane isn’t a damsel or sitting helpless. She’s an asset. She’s the one who manages to reconfigure Erik’s devices to induce the anomalies caused by the Convergence. She’s the one who stands in a bell tower as aliens fight outside and causes things to disappear to help Thor stall Malakith so he can’t destroy the world.

Jane Foster isn’t strong, not in the way Maria or Natasha or Peggy or Sharon are, because she wasn’t made for that. But that doesn’t make her weak. She is a scientist, and she uses her brains to help out in the ways she can. She isn’t physically strong, but she’s well-rounded in the ways that truly strong characters are.

I’ve been brainwashed into thinking the only strong female characters are the ones with sharp edges who can kill you just by looking at you. That’s not what a strong female character is. Jane Foster is strong, in her own way, and I’m done hating her. We need more female characters like her, not the type to save the day with her brawn, but with her brain.

I used to hate Jane Foster. I don’t any more.

Why does the Citadel’s armillary sphere look like GOT’s title sequence?

What is an armillary sphere?

An armillary sphere (variations are known as spherical astrolabe, armilla, or armil) is a model of objects in the sky (in the celestial sphere), consisting of a spherical framework of rings, centered on Earth or the Sun, that represent lines of celestial longitude and latitude and other astronomically important features such as the ecliptic. As such, it differs from a celestial globe, which is a smooth sphere whose principal purpose is to map the constellations. [wiki]

What is depicted on the armillary sphere in the title sequence?

It shows the history of the Seven Kingdoms, from Aegon’s Conquest through Robert’s Rebellion up to the War of the Five Kings. Read more about what’s depicted here

What’s the story behind the GOT title sequence? 

According to GOT producer Greg Spence, “Imagine that somewhere in Westeros, there’s a mad monk in a tower who actually has created a map of the world. He keeps track of where everything is happening and what’s going on on that map. We don’t know who or where this little odd person is who makes all these little automatons, but there’s a very Leonardo da Vinci thing to the original concept. It’s a weird little working machine.” Read more about the process and creation of the title sequence via Art of the Title. Read the “rules” behind the map here.

Who is this mysterious, omniscient “man behind the map”? 

Reddit speculates that we’ve just met the “mad monk” behind the map; he’s the glasses-wearing acolyte who greets Sam at the Citadel. That “blink” in the title sequence? That’s supposedly him, looking down at his map. Look for yourself on imgur

What’s the Watsonian purpose of the armillary sphere in the Citadel?

Remember the mirror trick in The Mummy? The armillary sphere / chandelier is the center of a “massive mobile consisting of enormous lenses, designed to magnify and reflect incoming sunlight around the chamber”. It’s a good idea not to have open flame near all those old books. In other words, the GOT team actually thought about gifmakers while designing the Citadel. Read more about the architecture of Oldtown and the Citadel here

What else might the Citadel’s armillary sphere be used for?

With the sun at the center of GOT’s armillary sphere, the Citadel can use it to demonstrate the motion of the stars around Terros. It may also be used to determine the changing of the seasons. Read more here

What does it all mean?

GOT chose to put this self-referential chandelier in the chained library of the Citadel for reasons that have yet to be revealed. Some people speculate that everything we’re seeing on Game of Thrones already happened decades ago and Samwell Tarly or another maester is recounting to us the recent history of Westeros. someone fedex him a copy of FeastDance plz. 

What on Planetos Happened with Dorne?

It has never been a secret that I think that the fifth season of Game of Thrones was a creative failure on almost every level. I’ve spent the last year explaining why in detail, so I won’t overburden this piece with that. However, most critics don’t seem to agree with me. To the mainstream media, the season was a resounding success.

Except for one part.

If there is one thing that unites book snobs and show stans, it’s the season 5 Dornish plotline. We all agree: Dorne was a disaster.

The characters were ridiculously cliched. The Sand Snakes, Oberyn Martell’s three bastard daughters, were obviously meant to launch off of that character’s breakout success and popularity. Unfortunately, the people behind Game of Thrones, David Benioff and Dan Weiss (D&D), apparently didn’t understands what it was about that character that made him popular. Instead of focusing on his intelligence, grief, and need for justice, they focused on…how sexy and violent he was. Then they threw in his long-term girlfriend Ellaria Sand, and made her more or less identical.

The result was four women who belong more in a cheap early-eighties Conan knock-off than in a series with the (rather mystifying at this point) reputation for it nuanced complexity and rounded characters. They stood around in skimpy outfits monologuing about revenge; they had quirky individualized weapons; they flashed their boobs more or less at random; they slapped each other and called each other “whores.”

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Meera always listened to him

underthesamestar  asked:

I rewatched the last episode again and I started crying when Haru was saying sorry to Makoto and now I am crying again... Yanny, I love them so much, so much, they are so beautiful, I can't describe with words how beautiful they are. I wish everyone to find a person to love and be loved by them like Makoto and Haru love each other.

Makoto and Haru’s relationship (in S2) shined the brightest in this ep

It made me think about their relationship as a whole

All that they went through…

and the hardships that they had to face…

BUT were able to conquer together, simply by being each others’ strength

…that solid base of support.

It showed how they grew as a person..

…and grew as ‘best friends

And how, while life seemed to throw them ALL the reasons to give up

to let go

they instead find MORE reasons to hold on to each other.






I swear, I swear I don’t ship it ugh

Okay so story time.  tous-les-coups and I started lining up for our Jensen & Misha photo op super early, so we were close to the front of the line.  That meant that we were let in to the photo op area before they were ready to start taking pictures, and they were still resetting after the J2 pictures.  So Misha came in and started talking with Jensen and Chris (the photographer) and okay, this is the part that is so not fucking cool, because Misha looked kinda tired or down about something, and it seemed like Jensen and Chris were sort of giving him a pep talk- except that apparently in order to do that, it was necessary for Jensen to hold Misha’s shoulder, gaze deeply into his eyes, and hold his hand over his heart like he was giving a really heartfelt speech.  I fucking kid you not.  AND THEN Jensen continued to hold this position for a good long while, and even when he moved his hand from Misha’s shoulder it sort of grazed his arm???  I don’t even know guys, I swear I don’t fucking ship it but these assholes make it really hard not to do that, ughhhhhhhhhhh

Anyway, then we got to do our photo op, and we told them that Lainey was Hannah and I was Crowley and we were going to get in the middle of Dean and Cas’ “friendship” (we didn’t use the airquotes, but it’s possible they were implied) and then this happened.  Not exactly what we pictured, but Lainey got to wrap herself around Misha and I got to PUT MY HANDS ON JENSEN’S PECS so it worked out perfectly.

And yes, they’re actually MORE ridiculously good looking in real life.  What a bunch of rude assholes.

**please don’t edit or repost this without permission, thank you!**

The Fallacy of Game of Thrones's ‘Women on Top’ Part 1

Also known as “Sexism & S6 Part 1,” for those who like repeating series.

Months ago before Game of Thrones (GoT)’s sixth season aired, many of us here at Fandom Following were a bit horrified by the show’s EW Magazine marketing campaign. As a happy refresher for those who don’t remember, these were the magazine covers with “DAME OF THRONES” written in big letters and promises of “WOMEN ON TOP.”

Okay, maybe some of us were more than “a bit” miffed.

For me, GoT’s fifth season was almost defined by its misogyny, a conclusion I came to after writing a nine-part essay series detailing the sexist tropes and storytelling conventions used by showrunners David Benioff and Dan Weiss, and their staff writers Bryan Cogman and Dave Hill (all of whom will be referred to as the monolithic “D&D”), which utilized the framework of ambivalent sexism. This framework allowed for the conclusion that while I strongly believe D&D have no malicious intent towards women and may even think their narrative is progressive, the results and implications of their writing betrays a sexist lens:

“But the thing is, I don’t have to assign malice in this case. Look at the pattern. These sexist tropes used in the Season 5 narrative are a product of D&D’s writing…they are all the result of alterations to the source material.

So there is simply no other explanation for their liberal employ than that this must be how D&D think men and women act, or that this is what they find to be entertaining. Which means that they understand human behavior from a fundamentally sexist position. Because they are sexists™.”

Too often, complains about GoT’s sexism are dismissed with the “but that’s how it was back then!” argument. However, as I also explained in my pre-Season 6 piece “The ‘sexism debate’ about Game of Thrones is anything but crushed,” there is a difference between a sexist setting and a sexist narrative, and my problem with GoT is firmly the latter.

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Uh, so I’ve been working on this meta post for around 3 months now, gathering screenshots, gathering feedback, gathering more screenshots. The result is what could conceivably be called thorough.

Compared to the animation I made as the header, the post’s content was much harder to put together and write; I consider the animation icing on the cake. If you liked the animation, and like Chara (or don’t like Chara) then please consider reading the meta. It’s finally done!


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Game of Thrones has a problem with the way it presents LGBT characters

(This was written after Episode 7 of Season 6.)

I’m not going to deny that Game of Thrones is enjoyable to watch, if not very well written (I’m talking about the show here of course- I have read the books and enjoyed them far more.) But I want to raise an issue that I have hardly seen talked about in real length, and that is that (being gay myself) I take issue with the way that LGBT characters have been presented. This isn’t me expecting HBO to read this and go “This 17 year old on tumblr is right!” This is just me expressing my opinion and hopefully opening up a space for critique which I have seen very little of. Its important that as much as we enjoy media, we remain aware of the issues in it.

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To add more to the Jon-Ned parallels! (as of recent developments)

- Both had responsibility over Winterfell thrust upon them due to circumstances; they never expected to rule

- Both had a father and an older brother (who they both admired and simultaneously thought was better than them) suffer cruel deaths

- One younger male sibling is still living (who plus points! coincidentally meet in the current time-line): Benjen and Bran - both also have ties to the three-eyed raven

- Many comparisons have been made of Arya and Lyanna in both looks and temperament (as I come to know in the books), and I imagine Lyanna also shared a very close relationship with Ned mirroring Jon and Arya’s relationship (but please don’t let the parallels be too literal for these two) 

- A significant red-head ( ͡° ͜ʖ ͡°)  is by their side to help them rule and whom they didn’t necessarily love romantically at first (in Ned’s case), but whom they felt/feel an obligation towards and a deep protectiveness 

- Creepyfinger still caught in the loop a generation after. Man, he must feel a strong sense of deja vu

We need to talk about Sansa Stark.

Originally posted by untempoperilupi

We need to talk about Sansa Stark painstakingly sewing stitch after angry stitch while she’s imprisoned in her childhood home by a psychopathic rapist.

Look at that embroidery: it’s beautiful; it’s fierce; it’s Sansa. It’s a fucking DIREWOLF. Just like the one buried in the lichyard at Winterfell; Lady didn’t survive but Sansa did. Sansa is.

My girl subversively sewing herself back together right under the nose of her abuser - in my mind, at least - a man we know particularly delighted in robbing people of their self-identity (see: “Reek”).

And the idea that she was doing this, at least in part, through “women’s work!” Through the soothing, repetitive motions she’s been doing all her life. Making something beautiful for herself - of herself - even though.


And I think it‘s meaningful that she also made that cloak for Jon - not just for ‘shippy reasons or larger Stark Symbolic Reasons, either.

Because this shows us that Sansa is still capable of loving - even if she is harder than she used to be, and sharper - and capable of being herself. (She is certainly more capable of loving Jon than she used to be, fraternally or otherwise.)

Yes you did, my darling, and I am so glad!

P.S. In light of all this, I am even more tickled than I already was that Arya’s sword is named “Needle” & that she has it back now & will hopefully be with her sister again soon!

Why Sansa Stark’s Dress From Last Night’s ‘Game Of Thrones’ Was The Most Perfect Costume Choice Of All Time

By Rosie Narasaki, bustle.com

Sansa’s done more than learn from her captor/torturer/style icon Cersei: It looks like the student has surpassed the master. Because remember when Oberyn Martell told Tyrion how Cersei had tried and failed at emotional manipulation with him? Well, Sansa just categorically won all the emotional manipulation awards ever on Sunday’s episode — and she made sure to dress accordingly.

After almost three full seasons of being a powerless hostage, Sansa’s finally talking back. We first saw a glimpse of it a few weeks ago when she tearfully told Aunt Lysa that Littlefinger hadn’t tried anything with her (and he hadn’t… yet) — she used her admittedly tragic past to her advantage to convince Aunt Lysa that she had no designs on him.

And this week, she takes it a step further, conflating truth and fiction so very seamlessly that she’s able to successfully convince a whole panel of suspicious Eyrie elders of Littlefinger’s innocence. It’s a masterful move (both by Sansa herself and actor, Sophie Turner), and her calculated, through-crocodile-tears-look at Littlefinger shows us that she’s playing with the big leagues now.

Her subsequent scene with him (“I know what you want”) adds feathers (no pun intended) to her cap, and her dress clinches it. Sansa’s always been a survivor, but this is a dress that lets us know she’s playing the infamously life-or-death game of thrones for keeps.

Sure, it’s unfortunate that the ever-creepy Littlefinger is the ally she chooses, but at least we know she’s making very calculated risks — because it’s not blind loyalty or even fear that drove her to save him, but an aptitude for self-preservation and manipulation that we only wish her mom and dad had. And it’s this Maleficent-worthy dress that seals the deal — or rather, puts the nails in the coffins of her enemies.

It’s the perfect marriage between character development and costuming. Major props to the Game of Thrones costume department for creating the dress of the season (it even beats Dany’s post-Daario dress, and Margaery’s roses-and-thorns wedding dress, IMHO). It’s a character-defining dress that has rightfully taken over Twitter, Tumblr, and just about every GoT recap, ever — and I’m sure we’ll be seeing it on scores of future cosplayers to come.