#actually just hesse in general
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The Best House MD Scene
"You'd be surprised what you can live with."
In season 2, episode 6 of House MD “Spin” written by Sara Hess, there is a scene that I consider to be one of the best, if not the best, scenes of House. In the scene, Cameron is talking to Wilson alone in House’s office about how she cheated on her dying husband with his best friend while he was in the hospital. A conversation that is related to Wilson’s adulterous behavior and plethora of divorces. To relate to her story, Wilson tells Cameron that his relationship with his second wife, Bonnie, ended not because she was sick and he needed someone to cling to, but because he met someone that made him feel funny and good and he didn’t want to let that feeling go. Cameron looks at him in understanding. Wilson goes on to say that Cameron isn’t to blame for cheating on her husband since she couldn’t control her emotions, to which Cameron replies “No, just my actions.” When Wilson realizes that she didn’t sleep with him. Cameron says that she couldn’t live with herself if she did. Wilson gives a devilish smile in response, a silence that speaks volumes, and says, “You’d be surprised what you can live with,” and leaves the office.
This scene is so impactful, not because of any angst or emotional weight but because of the parallel and implications of this scene. Cameron and Wilson are characters who both interact but don’t really have a close relationship. This is one of the only instances where they seem to have a genuine emotional understanding of each other. There is also a very strong parallel between them, as they are both emotional and caring people who thrive on being needed by others. But most importantly, they both love broken people and the ultimate broken person, House. Cameron is still grappling with her feelings for House and the lack of gendered language used by Wilson as well as the general knowledge that there is no one else he could possibly be talking about, along with the fact that this conversation is literally happening in House’s office, solidly proves that this “mystery person” Wilson is talking about is House. “You’d be surprised what you can live with” might not necessarily mean that he slept with House, but it definitely confirms that there was at least a level of emotional cheating on his ex-wife with him. Something that is actually proven as the reason his second marriage with Bonnie ended. His being too devoted to helping House after his infarction was a primary reason. House making Wilson feel “funny” could be a way of Wilson saying he fell in love with House, or maybe House just made him feel needed in a way that Wilson couldn’t resist.
Regardless of how you read between the lines, the implication here is clear. Both Cameron and Wilson love House, and both of them are bonding in this scene over not having control over their emotions, especially over House. To me, “You’d be surprised what you can live with” is Wilson saying he can live with his feelings for House and he can live with knowing that he would do anything for him as well as a general acceptance that he could live with emotionally or physically cheating on his ex-wife with House. Cameron says nothing to this statement, and there is no follow-up to this conversation in the rest of the episode or the show. But it alone sets up an understanding in the audience of why Cameron cheated on her husband as well as why Wilson drops everything for House at any whim. It isn’t confirmed until 6 seasons later, but this is the start of the many cleverly placed obvious hints that Wilson loves House, despite his feelings being deeply repressed and seemingly unreciprocated for the majority of the show or throughout their relationship that we, the audience get to see. This scene stands out as a rare moment of cross-character connections that we don’t often get to see in House. From side characters. Yes, it is about House and what he means to both of them, but it delves into the shared inner experiences of these two characters, whom we get pieces of understanding throughout the show. This scene is my favorite scene of House, and while it might not be the most flashy or cinematic, it is the pure example of the show’s outstanding writing.
#house md#s2e6 spin#yes i wrote a whole 800 words about this scene#literal essay posting#in this essay i will#allison cameron#james wilson#hilson#gregory house#my thoughts#this scene makes me lose my marbles
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Emil Sinclair & Frau Eva
A consistent problem I’ve run into while discussing the novel Demian is the rejection of Emil’s relationship with Eva in favor and treating it as if it is nothing but a tool to analyze the relationship that he shares with Demian. People treat his feelings towards Eva as fake, imagined, and entirely as misplaced affections that he holds towards Demian and become quite defensive when told that isn’t the case in the actual text of the book. I’m no stranger to interpreting things in ways that don’t quite match canon, especially when they make me uncomfortable, and it is clear to me that discomfort or even disgust is how a lot of people view this relationship as given the age gap between them and the general preference for seeing Emil with Demian instead of Eva. I have no problems with that aspect of this little debate, discomfort is more than allowed and I’m not writing this to force people into liking the idea of their relationship.
What I am writing this for, and what I do find a problem with, is the way that people attempt to force an erasure of this aspect of the book and will accuse people of misreading the novel when acknowledging its existence. To say that someone does not understand the book or Emil’s character because they made reference to his love for Eva or his general affinity for mature women just seems to signal that there is a confusion of what the book actually says. Emil does love Eva and it is not misplaced love for Demian. From the moment he dreams of her to the moment Demian passes a kiss from his mother to Emil, Emil loves her. (That doesn’t mean he doesn’t also love Demian, by the way, but this post/essay isn’t about that, so I won’t be dwelling on the feelings he holds for Demian).
This is not going to be a complete, in-depth look at her character and role in the story and will instead simply focus on the actual relationship Emil has with her throughout the story and the ways that the novel sets up their relationship and makes it explicitly clear what sort of relationship exists between them. I feel it has been a massive disservice to her character to view her as nothing more than a woman getting in the way of a relationship or as if all of the quite beautiful descriptions of her person and effect on Emil are inconsequential and/or imagined, so I hope that this does some justice to Hesse’s work.
All quotes taken from the translation of the novel done by W. J. Strachan.
To begin, I will actually be talking about Max Demian himself, because Eva can be understood through son as he acts as a bit of a proto-Eva in Emil's life. They have a similar appearance, as it is often noted, they both bear the ‘sign’, they are deeply linked to Emil’s personal growth and relationship with the world, so to get a full grasp of his relationship with Eva it is also important to look at how he sees Demian and the key overlaps between them. So, let's look at one of the descriptions Emil writes of his dear friend.
This remarkable boy seemed older than he looked; he did not in fact seem like a boy at all. He moved among us more childish members of the school strangely mature, like a man, or rather a gentleman. He was not popular; he took no part in games, still less in the general rough and tumble and it was only the firm self-confident tone he adapted in his attitude towards the masters that won him favour with the other boys. He was called Max Demian.
Note how it focuses on his age and maturity, even though he is literally a couple years older than Emil, spiritually, thematically, he is older than even that. He is like a man, an adult. Here's a similar passage from another moment where Emil describes his friend:
I saw Demian's face and remarked that it was not a boy's face but a man's and then I saw, or rather became aware, that it was not really the face of a man either; it had something different about it, almost a feminine element. And for the time being his face seemed neither masculine nor childish, neither old nor young but a hundred years old, almost timeless and bearing the mark of other periods of history than our own.
Once again we see that he is more than a child, Demian is aged, grown, but not old nor young. In contrast to Emil who is youthful and immature, someone who has not yet begun his true journey. Here we also see a hint at there being a feminine element to Demian. Demian represents not just the fact that he is mature and capable of leading Emil through the spiritual journey he so longs for, but that he is not limited to just one world. He is not stuck in the dichotomy of light and dark, of masculine and feminine, of age and youth, he is both and neither.
Continuing the subject of maturity, we can take a look at the moment we share with Alfons Beck, a relationship that Emil describes with "we seemed to have a perfect understanding of each other" and, while a character who does not stay around long, acts as a mentor in the way he teaches Emil to grow up when it concerns sexuality and affections. It isn't long after this moment that Emil begins his venture into the world of darkness and almost loses himself to indulgence and excess of drinking and what have you, but it is clear from the later scenes with Knauer that Emil retains this personal growth surrounding sex and desire.
I heard amazing things; things I would not have thought possible were trotted out as part of everyday reality and seemed quite normal. Alfons Beck had already gained experience of women in his less than eighteen years of life. He had learned, for example, that girls were only out for flirtation and attention, which was all very agreeable but not the real thing. There was more chance of that with mature women. They were much more reasonable. You could talk with Frau Jaggelt who kept the stationer's shop, and a book could not contain all the various goings-on behind her counter.
I sat there spell-bound and stupefied. Certainly I could never have loved Frau Jaggelt - but nevertheless it was terrific. There seemed to be hidden springs as least for my seniors, whose existence had never suspected. It all had a false ring about it, a more ordinary and insignificant flavour than love should have, in my opinion, but at all events it was life and adventure and I was sitting next to someone who had actually experienced it and to whom it seemed a normal thing.
By the end of this talk, Emil feels like a boy listening to a man. He understands that in this area he is behind, yet still is drawn to it. Alfons Beck is here, quite clearly, setting up and building upon the themes of maturity, especially that of women. This is very important seeing how it is one of the first times he is so explicit about his feelings regarding sexuality, and it is not by accident that this conversation regards mature, older women.
Another element here is that Emil points out that he finds more passing encounters, attraction without the intent to form a significant relationship, to be not founded in love - or at least the type of love he desires. I point this out because it establishes the idea that the types of relationships and attraction Emil is most interested in are ones that are serious and lasting. Quick, temporary connections excite him, intrigue him, because of course they do, he is a young man away from home and free to explore the world for the first time in his life and he has wants and desires. But, as we will see in his actions towards Eva later on, what he is most interested in a more true kind of love.
I'm going to hop straight to the painting next, as it is the real start of his relationship with Eva. There's a lot with the painting that I don't believe needs to be quoted directly so I've chosen a description of his realization of who it reminds him of.
Then one morning when I awoke from one of these dreams, I suddenly recognized it. It looked so fantastically familiar and seemed to call out my name. It appeared to know me as a mother, as if its eyes had been fixed on me all my life.
I stared at the picture with beating heart, the close, brown hair, the half-feminine mouth, the strong forehead with its strange brightness-which it had assumed of its own accord-and I realized that my recognition, my rediscovery and knowledge of it were becoming more and more a reality.
He says after this that it resembles Demian, it was not his features exactly but there is no mistaking the fact that it was ultimately Demian's face. A motherly, matured woman version of Demian. This will later be seen to be the same description he gives Eva, even beyond the fact that he explicitly states that it is her as I'll quote later.
The effects this painting have on him are, as we all know, quite extreme and trigger many contradictory feelings within him. It is obvious that he worships it, he puts it on the wall in a way he can look at the face first thing in the morning, the same way one would look at a lover in bed upon waking up, he cries over it and clearly experiences intense lust and attraction towards the figure depicted in it. He also finds these feelings towards it revolting and terrifying, and would sometimes call it a devil and a murderer. At this point in the story, he still has lingering shame for these sorts of desires, even if he has begun to embrace them in some ways, he hasn’t fully overcome his belief that the world is separated in two halves and as a result views many things in extremes of both the most beautiful parts of the world of the light and the worst of the tempting world of darkness.
But for full context on this painting, we also need to look at the dream in which its subject appeared in, the most important dream of his life that he dreamed of night after night.
This dream, the most important and enduring of my life, followed this pattern: I was on my way to my parents' home and over the main entrance the heraldic bird gleamed gold on an azure ground. My mother walked towards me but when I entered and she was about to kiss me, it was no longer she but a form I had never set eyes on, tall and strong with a look of Max Demian and my painted portrait - yet it was somehow different and despite the robust frame, very feminine. The form drew me to itself and enveloped me in a deep, shuddering embrace. My feelings were a mixture of ecstasy and horror, the embrace was at once an act of worship and a crime. The form that embraced me had something about it of both my mother and my friend Demian and also this embrace violated every sense of religious awe, yet it was bliss. Sometimes I awoke out of this dream with a feeling of ecstasy, sometimes in mortal fear and with a tortured conscience as if I had committed some terrible sin.
Here we see Emil's most important dream: one where he is filled with ecstasy when embracing a figure that is a sort of halfway point between his mother and his friend. I'm going to share another passage from later, when he sees Frau Eva for the first time since childhood.
Sensing my interest in them, she took me into the house, looked out a leather album and showed me a photograph of Demian's mother. I could hardly remember her but now that I had the small photograph before me my heart stood still. It was the picture of my dreams. There she was, the tall, almost masculine figure, looking like her son, but with maternal traits, traits of severity and deep passion, beautiful and alluring, beautiful and unapproachable, daimon and mother, fate and lover. There was no mistaking her!
The discovery that my dream image existed on this earth affected me like some fantastic miracle! So there was a woman who looked like that, who bore the features of my destiny! Where was she? Where? And she was Demian's mother!
So, this figure he dreams about, the figure he paints? It is Frau Eva. And we see here that, much like how her son is described as feminine, she is described as masculine. She also is inherently full of contrasts: daimon and mother, beautiful and unapproachable. Frau Eva and Demian follow the same pattern of being opposing natures who exist in one, the deconstruction of the binary and embracing something that is less easy to categorize. They embody the same ideals as Abraxas, of Emil's dreams.
Speaking of Abraxas and Frau Eva, here is his proper introduction to her as an adult.
With eyes moistened with tears I gazed at my painting, absorbed in my reflections. Then my glance dropped. Under the picture of the bird in the opened door stood a tall woman in a dark dress. It was she.
I was unable to utter a word. From a face that resembled her son's, timeless and ageless and full of inward strength, the beautiful, dignified woman gave me a friendly smile. Her gaze was fulfillment, her greeting a homecoming.
Silently I stretched out my hands towards her. She took them both in her warm. firm hands.
"You are Sinclair. I recognized you at once. Welcome!"
Her voice was deep and warm. I drank it up like sweet wine. And now I looked up and into her quiet face, the black unfathomable eyes, at her fresh, ripe lips, the open, queenly brow that bore the 'sign.'
"How glad I am!" I said and kissed her hands. "I believe I have been on my way here the whole of my life and now I have reached home at last."
She gave a motherly smile.
Eva makes her entrance quite literally alongside the painting of Abraxas Emil painted not long after he put a name to the face of the painting he made of her. He describes this as reaching home, incredibly important to him after he has been feeling so outcast from the home he grew up in. And he loves her deep voice, her quiet face that resembles her son's, and her friendly, motherly smile.
Eva and Abraxas, the god he worships and adores, are linked beings. This all builds on to the Demian and Cain, Eva and Eve connections. Eve the mother of both Cain the murderer and Abel the victim, Eve the woman born of God who spoke to the Devil and committed the first sin (which to bearer's of the Sign was surely not a sin), is now properly linked to Abraxas and it all feeds quite well into a similar theme. Eva is mother and she is home.
Eva is the origin of Demian, an embodiment of his ideals with even more maturity, she created the one who created Emil in a manner of speaking. She truly represents a world that is not divided into light and darkness, the very world that Emil chases after and wishes to believe in. It only makes sense, then, that he would find her so attractive and want her, desire her. By this point, so late into the novel, Emil is quite grown up, literally and spiritually, compared to the young, lost boy he was at the start. He has accepted sexual desires, accepted the world is complex and rejected many of the beliefs he held as a child, and he wants Eva the way any grown man might.
But, of course as we established earlier, Emil wants more than a passing encounter fueled by lust. He wants a real kind of love. And when he has gotten to know her and understand her as a real person rather than just a figure in his dreams, he writes the following, detailed, heavily romantic, filled with yearning and love passage:
On many occasions I believed that it was not really just her as a person, whom I yearned for with all my being, but that she existed as an outward symbol of my inner self and her sole purpose was to lead me more deeply into myself. Things she said often sounded like replies from my unconscious mind to burning questions which tormented me. There were other moments when as I sat beside her I was consumed with sensual desire and kissed objects which she had touched. And little by little sensual and transcendental love, reality and symbol mingled together. As I thought about her in my room at home in tranquil absorption, I felt her hand in mine and her lips touching my lips. Or I would be conscious of her presence, look into her face, speak with her and hear her voice, not knowing whether she was real or a dream. I began to realize how one can be possessed of a lasting and immortal love. I would gain knowledge of a new religion from my reading, and it would give me the same feeling as a kiss from Eva. She stroked my hair and smiled with all her warm affection, and I had the same feeling as when I took a step forward in knowledge of my inner self. Her person embraced everything that was significant and fateful for me. She could be transformed into each one of my thoughts and each of my thoughts could be transformed into her.
This paragraph here always sticks with me, the way his love transcends reality. It mirrors the way that Demian's existence is questionably real, that the moments he shared with the Demian family are somewhere fundamentally between imagined and real. Does she kiss him or is it imagined? It hardly matters, because reality and symbol are mixing together and becoming one and the same. These are his manifestations, these are his calls to the world to make his love true. And that love is so true in his heart he can hardly tell when it is real.
Also I just want to point out how cute he is when he's in love... kissing the things that belong to her, linking his learning and his growth as a person to her. It is similar to his behavior with Beatrice, in that this woman is helping inspire him to improve upon himself, but now it is not the desperate clutch to an unknown figure as a guiding light he can never speak to, it is a woman who pulls answers from his own mind, a woman who exists as a symbol of his inner self. Frau Eva, again just like Demian, is an extension of Emil's self and soul.
Alright, so I have now established Emil's feelings towards Frau Eva, but what of her feelings towards him? This following passage comes immediately after the one before
When I arrived back at H-- I stayed away from her for two days in order to savour this security and independence from her physical presence. I had dreams too in which my union with her was consummated in a symbolic act. She was a star and I was a star on my way to her, and we met and mutually attracted, remained together and circled round each other blissfully in all eternity to the accompaniment of the music of the spheres.
I told her this dream on my first visit on returning.
"It is a lovely dream," she said quietly, "Make it true!"
Emil tells her that he had a dream of the two of them in which they consummated their union (which, just to make this abundantly clear, means having sex. there is no getting around that fact) through a symbolic act of entwining around each other for all of eternity and Frau Eva tells him to make it true. She tells him, explicitly, that this dream he has of them making love is lovely and that he should work on making it happen in reality. This is of course a further extension of her trying to help Emil manifest a kind of mutual attraction between them through his extended longing and deep, honest desires. While she does not currently reciprocate the romantic affections he has for her, she is clear about being open to the idea of that one day being the case.
Let's also look at this bit, which is mostly about Sinclair's affections towards her but provides a bit of a conclusion to this theme of manifesting her love.
One day this foreboding came over me with such force that my love for Eva flared up suddenly and caused me great pain. My God, what a short time I had left; soon I should no longer be seeing her, no longer hearing her good, assured step about the house, no longer finding her flowers on my table! And what had I achieved? I had luxuriated in dreams and comfort instead of winning her, instead of struggling for her and clasping her to me forever! Everything she had told me about true love came back to me, a kindred stirring, admonitory messages, and as many gentle promises and words of encouragement, too, perhaps; and what had I made out of it all? Nothing.
I stood in the middle of the room, summoned my whole conscious being and thought of Eva. I wanted to gather all the power of my soul in order to make her aware of my love and attract her to me.
She must come; she must long for my embrace, my kisses must tremble on her ripe lips.
Emil is realizing that despite her encouragements and his continued love for her, he has never truly spent the energy required to make his love reciprocated. These things, him wanting her be his forever, him wanting to kiss her so much that he shakes, to attract her to him so that she desires him in the same way that he does her... those are the things Eva wanted him to manifest. Now, this also makes it clear that for as much time as they spent together (the book mentions that Max was out for long stretches of time, leaving Emil alone with Eva for the majority of his days there), they did not get to do any of the things he wanted so passionately AND that she had still be encouraging him to manifest this.
And does she get this message? Yes! She does, only there is The War starting and so she does not go herself to him, but she does tell him that she heard his appeal and to do it again if he should ever need her.
Now, let's talk about the ending of the book, about the kiss.
"And there is something else. Frau Eva said that if things ever went badly with you, I was to pass on a kiss from her which she gave me … Close your eyes, Sinclair."
I closed my eyes in obedience. I felt the brush of a kiss on my lips on which there was a bead of blood that never seemed to diminish. Then I fell asleep.
Demian (who is made clear to be a hallucination or a purely spiritual being at this moment, regardless of what you believe his regular appearances are that of a real actual boy or a reflection of Emil's self or a mixture of the two. in this scene he is a dream-like being existing from Emil's mind here to help conclude the narrative) passes on a kiss that his mother gave to him. Eva wanted to give this kiss to Emil after all of those appeals he made for her love, and uses Demian as a vessel to give this to him.
Now I am absolutely not here to deny any sort of queerness in this moment, in the fact that it is not Eva herself who appears but rather Max. What I am trying to say is that Eva and Max are linked people, especially in the mind of Emil, and therefore it makes thematic sense for the boy who had introduced him to the world of the enlightened and to the woman he would come to love to be here in this quiet, scary moment and pass on a message from his mother. I am trying to say that denying that this kiss is even the slightest bit from Eva and 100% Max's moment is ignoring her entire character and a large, large portion of Emil's.
I could’ve gone on for longer, I skipped over the story she tells Emil of the man in love with a star and how that star eventually came to love him in return and how Frau Eva is his star. His last description of her before leaving for the war is about the myriad of stars glowing in the night sky and it is quite romantic, but I feel getting into the star symbolism in Demian would double the length of this and her feelings towards him cannot get any clearer than the part where she encourages consummating their union, which itself is still linked to the star story. This was all done taking passages I remembered off the top of my head and not a full reread of the book, but I feel like this does more than enough to explain my point.
In conclusion: never tell me again that I misunderstood the 1919 novel Demian: The Story of Emil Sinclair's Youth by Hermann Hesse because I joked about how Emil is into MILFs. He is.
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Stealing traits from Daeron and destroying Aegon's character completely, all of these things have made me dislike Aemond so much. Someone remind these writers that Aemond is not the only character in team green.
Hey, Nonnie.
I’m not gonna lie, I used to love Aemond but after reading the books it made jaded about his character. Aegon is fascinating and actually has a character arc in the books, he’s the only one that redeems himself IMO.
I wouldn’t mind Aemond’s characterisation if it wasn’t at the expense of Aegon’s, I was on Reddit and someone said that in the show Aegon isn’t a character he’s a problem that everyone has to deal with.
Alicent has to deal with the fact that Aegon hurt someone, Otto has to deal with the fact that Aegon isn’t interested in being King at all and Aemond (for some reason) has to deal with the fact that Aegon is “unworthy” (see what they’re doing?) of being the firstborn son.
Aegon was a great fighter because he also trained with Ser Criston, but only Aemond is allowed to have a fighting scene and be badass. Aegon has a mystical bond with Sunfyre, he actually fights for Aegon until the bitter end, but only Aemond is allowed to have scenes with his dragon.
Aegon would never bully his brother, especially with the Strong boys, whom ALL of them hated, but no, Aemond is the bullied meow meow, his brother is a meanie and has to bully the poor Aemond because Aegon is rotten, didn’t you know?
In the books, when Viserys asks where Aemond heard the bastards rumours you can infer that the brothers are close and that Aegon will always be there for him and he was. In the show, to the general audience it was only Aemond taking revenge for the bullying.
In the books, Aegon never took his brother anywhere but in the show, he takes Aemond to brothel for some reason and traumatised Aemond. Why? Because Aegon is rotten, he has no redeeming qualities and Aemond is the poor meow meow.
When Viserys is dead, Aemond was actually training and what the first thing he says to the Kingsguard?
“Is Aegon King?”
In the show? Apparently he’s the one that should be King because he reads and has Vhagar? Apparently Aegon never touched a sword, only Aemond.
Even his brother being the spawn of Satan, he still goes out to find him, isn’t Aemond just the best? He’s so dutiful and loyal. Even though he hates Aegon and wished that he was far away, and Aegon wanted that too. Or Aemond wanted Aegon dead, whatever works best for him and getting him close to the crown. Sorry, Aemond is amazing he would never covet what his brother has.
Because instead of getting only Ser Criston and Aegon, we got that pathetic scene of Aemond fighting Aegon in the middle of the street. Because Criston convinced Aegon by saying that his half-sister would be a threat to his family we also got Aemond looking for him, why was he there? He was so unnecessary in that scene, Criston and Aegon needed that scene. Criston needed to show his intelligence and Aegon needed to show the care and love he has for his family.
I really hate what they did with Aegon, and now? I don’t care about Aemond, I don’t care about his story or his character. I simply wished that they cut Aegon entirely, like they wanted to do with Daeron. Have the star of the green side by himself, but sorry, he’s only allowed to shine when Aegon is the villain of his story.
Sara Hess and Ryan Condal are a fucking joke, I hope that they’re never hired for anything ever again. Their writing is ridiculous, I just know that TGC will shine with whatever shit they write for him and then HBO will try to claim that it was because of them and their script. It won’t be, it’s purely TGC’s talent.
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They can cry all they want on Daemon popularity and try everything they can to make people hate him, they will never manage too lmao. At least not in the way they are doing it. I'm almost convinced B&C will make him even more popular for the general audience.
Honestly, the best karma for these shit writers is that no matter how many crying shots they show us of their favourite Black Hole Sympathetic Sue that they ruined the plot and their real lead character (Rhaenyra) for... Matt Smith and his character are still the things the GA tunes the show for. Just like the GA watched GOT for Dany instead of D&D's own black hole character. No matter how many pity parties they add for their shit doll, most of the GA hates her guts lmao.
If they had actually made her a villain she would have been loved like Cersei. But nah, and yeah the GA won't care about B&C, lmao. Who will care about lame Helaena and her lame kids? They barely know them. The real audience is definitely not Lost Girlhood™ stans from Twitter and Tumblr. 😂 And the funniest thing is that this is one of the worst roles any writer has put Matt Smith on. This is not Matt in his best, this is Matt playing a badly written, one-dimensional character in a incoherent show with all his might and doing it well enough with his natural charisma and other talents. The real truth is that they need his star power because as much as they want to promote the other actors, it is him (and now Emma) who mostly drives the audience.
I can't wait for the pathetic tantrums these writers are gonna throw after B&C. They are probably gonna cry bloody murder like they did last year about people still liking Daemon, especially that hypocrite Hess.
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Just say your reply and dam let me say it
Nifty makes me so sad shes everything i love in concept yet her execution kills me; she loves cleaning shes a bug and not only that a old timey bad alien movie inspired
I wish this show was actually about the hotel and that she had gotten the "alastor is allowed to not tell us his backstory because we need a season 2 " treatment, if this show actually follow the premise of redemtion Niffty, V and Angel (heh all bugs) would be the most complex ones and satisfecho ones to write about
V even if i prefer she wasend an exorcist if she n camilla carmine were former winners turned exorcist and them fallen we coul have both sides of going to hell
Angel Hess from the mafia! How how you teden that?? Even if he gets his sould how you fix all the blood or family spill! How did Molly did! (Rip my girls desing wtf she has maneged to look bald n hairly??) Just the journey he would have to go tru a looong road, would charlie put him on the back burner? Would that make him have a relapse?? Would he learn Molly make it hell would that be his motivation? Just this man
NIFTY she is conected to Al and im fascinanted to know why he favors her so much, why shes like this do Al know- does she even know? Its this her cope, was she murder or the murderer ?? Was she too a rasing overlord? Its her past the reason ? How does she feel in general honestly shes done so little in the show but i wanna disect her n know why shes like this so bad
Sorry for the rant n probably bad english just had to get that out my sistem at 1 am lol
Niffty was done dirty by the writers, everyone but her, got character development or a moment that hinted to some sort of character depth (Even if it was shallow).
Why the writers decided to reverse the seasons I have no idea. Charlie finding out Heaven is corrupted doesn't work since the plotline hinges on the audience's investment in her reaction and the cast, but why should we? We don't see the cast trying to actively improve themselves and the show repeatedly tells us sinners are the worst. At this point, it makes no sense for the show to continue the hotel premise because we know Heaven is corrupted now. What's the point, when we already know any effort the cast puts towards redemption will be in vain?
The characters are fulled of mystery and great ideas but the show refuses to explore them. I was surprised by the lack of references at their human backstories. The cast's human lives are why they're in hell and the person they are now. Like, how are we supposed to know Husk's cheesy love for magic came from watching the magic shows in the casinos he grew up in????????? That seems like a very important piece of information to know about his character, considering it's one of the few things he still loves. In that one line alone, we learn so much about Husk and why he turned out to be an alcoholic gambler. At the end of the show despite spending time with characters, I feel like I don't know them as much as I should. I don't know their motivations, beside for Al and Angel we don't see them struggling through their flaws (The show has Husk tell us, writing 101 /sarc), and the show doesn't really explore the cast's relationships with each other or their world. So any potential information we could have learned about them from their interactions through others characters and their environments isn't utilized.
The show just keeps important info locked, tells you character's infos that would have benefited better from showing it, and then except the audiences fill in the missing gaps between info-dumps.
Don't worry about ranting, it's was fun to read and respond too. I understood you just fine.
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Fabius isn't actually Bavarian and I don't think stereotypes about him a very helpful.
Aight, so, a couple things;
Firstly, I don't actually think he's specifically Bavarian. In fact, I don't think you can rightly ascribe any sort of regional influence to him with strong accuracy, outside of "he's generally from where Germany was" because it's 30,000 years in the future and the various states + regions of Germany would have been reformed a hundred times over. I literally answered an ask about this a couple days ago where I basically said "He wouldn't actually be Bavarian because- y'know what, sure, he's Bavarian."
Secondly, the vast bulk of my extended family is German (based out of Hesse and Holstein) so I'm fairly comfortable saying that I wasn't trying to be ignorant or reductive or something, I just thought the picture I got sent was funny. If you found the image to be in poor taste, I'm sorry for that, but I don't think it was intended to be so. But, y'know, fair enough.
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I think Olivia is really pushing for Rhaenicent to become canon because it’s the only way she can stay popular with the general audience. They don’t like Team Green but if Alicent abandons her family for Nyra she thinks they won’t associate her with the faction. Do you think the writers will give in?
i’m not entirely sure if the writers would give in specifically because of olivia wanting it, but i do think they have this idea in their head (and this is mostly in regards to how they keep claiming their writing is ‘super feminist’) that if they push these two women together as hard as they can they’ll be able to reach a ’broader’ audience with the tragedy that would be that failed friendship. never mind the fact that every other character and relationship will (and already do) suffer greatly from this decision.
they don’t seem to care about the bigger picture when it comes to the dance, and it’s heavily evident in season one. there is absolutely no way that rhaenicent could ever work at this point (or really at any point) in the story. rhaenyra found out her father was dead and her throne was usurped, causing her to go into pre-term labor and lose her daughter. then luke was murdered as a messenger by aemond. all of this happens within a few days of each other (another glaring mistake but that’s a topic for another day.) alicent being able to abandon her family (which she would never do, and completely defeats the purpose of them having her steal the throne to protect her children’s lives and not just for power) and go on to beg for forgiveness from her arch nemesis whom she has caused so much grief to is borderline insanity. not to mention that blood and cheese are most likely happening in episode one, and while we the viewer/reader know that rhaenyra most likely didn’t have anything to do with it (and even that is still up for debate), alicent will not.
so they’re basically saying that luke’s death doesn’t matter, jaehaerys’ death doesn’t matter, helaena succumbing to her own anguish from choosing maelor to die over jaehaerys (we also don’t even know what’s really going to happen with b&c because there is no evidence of maelor having ever existed in the show, either he’s suddenly going to appear or helaena has to choose between jaehaerys and jaehaera instead.) nothing matters except alicent and rhaenyra becoming besties again; because let’s be honest with ourselves, if this is the route the writers have chosen they’re just going to continue their queerbaiting rhetoric and not confirm them being together/having genuine feelings for each other.
i firmly believe that olivia deserves better out of the fandom, but rhaenicent needs to be shelved. immediately. it’s doing nothing for hotd besides dragging it down. i flip flop every other week on whether the writing is going to be actually worth our time, and with george stepping in to help salvage season two i do have higher expectations. on the other hand if condal and hess are involved it’s pretty safe to say that something is still going to go wrong. hope for the best and expect the worst is the mentality to have right now, unfortunately.
#hotd#hotd critical#rhaenyra targaryen#alicent hightower#anti rhaenicent#anti ryan condal#anti sara hess#faye answers#anonymous
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If you had the chance to change something about the dance of the dragons (TV show or book), what would it be? For example, how a character dies, which team a house is on,or an entire character personally. How would you change it to make the story better, in your opinion? 💙💚🖤♥️
House of the Dragon? EVERYTHING and I do mean everything!
Age appropriate actors, why are 20 somethings pretending to be women in the mid to late 30s one of whom is a grandmother?!
More body positivity, Viserys, Rhaenyra and Helaena are all canonically plus size. The excuse Sarah Hess used was disgusting and fatphobic.
Actual development of the characters, I sound like a broken record but omg this crapfest of a show has given me 0 reason to be invested in anyone.
The show should’ve been 13-15 episodes long instead of 10, everything felt so rushed because they were trying to cram as much in with little time.
Don’t make such drastic changes which completely ruin the characters goals and motivations.
Real female relationships. Rhaenyra was a girl’s girl surrounded by women: Laena Velaryon, Rhaenys Targaryen, the Strong sisters, Elinda Massey etc. Alicent was not her friend and she certainly wasn’t her only friend yet for all their airs of “feminist writing” the writers are just as allergic to female friendships as their GoT counterparts.
And most importantly:
FOLLOW THE DAMN BOOK! Condall and Hess have deluded themselves into thinking their fanfiction is better than George’s work and this underserved arrogance destroyed the show before it even began.
&
DON’T BE SO F*CKING RACIST! The treatment of House Velaryon is an actual joke, of Laena and her girls in particular. I talk about what they did to my dragon girls here (Baela and Rhaena rant), the Velaryons went from being the second most powerful family in Westeros to nothing more than props for white characters. It honestly feels like Ryan decided simply casting black actors is enough, fans shouldn’t be mad their personalities and storylines were ignored in favour of white characters.
With the books my feelings are a little more complicated.
how a character dies
Do I hate that certain characters die? Yes, but no one in the books died for the sake of dying if you catch my drift. They had to die when they did for the story to work. None of their deaths felt unnecessary, they all had an impact on the storyline, that’s what I love about George’s work if one person didn’t die then the events that happen completely change.
Aemma: there’s no civil war full stop.
Laena: Aemond claims Vhagar, loses an eye in the process and triggers the beginning of the inevitable civil war.
Laenor: it was at his funeral people finally called the Strong boys’ paternity out. He was Rhaenyra’s shield against the rumours, which is also why the whole fake death plot was dumb af.
Harwin: pretty much same as Laenor, if he doesn’t die then Rhaenyra has an easy solution to her bastard problem by marrying the man everyone’s accusing of being her sons’ real father. By killing him off she doesn’t have a quick fix, the ghost of Harwin Strong will haunt the Dance.
Lyonel: his death gives Larys control of Harrenhall and allows Otto to be Hand again.
Lucerys: he’s the trigger for the war, Rhaenyra stopped playing nice the minute she found out he died. We forget how evil kinslaying is in Westerosi culture, but she allowed it because she wanted revenge for her son.
Jacaerys: the Robb Stark to Nyra’s Stoneheart, his death triggered her paranoia and slow descent into madness. He was her stability, her rock, without him she already lost even when she finally sat on the Iron Throne.
The Strong boys in general had to die for the sake of everything that happens to House Targaryen post Dance. The only survivors have to be Aegon III and Viserys II. Aegon who was so traumatised he hated dragons and deliberately prevented them from being hatched. Viserys who continued the generational abuse, allowed his daughter to be maritally raped by his son, and usurped his niece’s throne using his own mother as justification for why women can’t rule.
George didn’t kill any of these characters for fun, they all served a purpose to the overall storyline and all their deaths mattered.
which team a house is on
Considering how much George loves his wolf pack it is a little cliche that House Stark is Team Black and House Lannister is Team Green lol, that being said it does make sense.
House Stark and the North in general are isolationists, very rarely do they involve themselves in Southern politics. Jace made a pact with Cregan, offering to make his son the next Prince Consort and gave House Manderly a marriage to Joffrey also. His alliance wasn’t that different to Aemond’s with House Baratheon, they’re not going to involve themselves unless there’s something in it for them.
It’s a nice twist to Robert’s Rebellion where House Stark is anti Targaryen and House Lannister stay loyal.
Jeyne Arryn saying “we women must band together” gives you the impression that they didn’t see Rhaenyra’s accession as a one off thing, they were expecting real change to happen in Westeros.
It also makes sense Team Green didn’t have as much support. House Hightower isn’t one of the great houses, Otto is a second son, Alicent isn’t a dragon rider, Criston is the son of a steward etc. Considering they started this war with the odds stacked against them hats off to them for managing to pull it off I say.
or an entire character personally
I don’t think I’d want to change character personalities, this godawful show tried doing that and look at the absolute mess they’ve made. George wrote well rounded characters, we know their individual motives and goals, he’s not the problem the show is.
That being said I do want more depth to them, especially Harwin because I really want to know what he was thinking when he decided to impregnate the Crown Princess THREE times. So fingers crossed George gets around to writing that Rhaewin novella I guess.
How would you change it to make the story better, in your opinion?
I’d put more focus on the maester conspiracy, Team Black vs. Team Green by itself is dull, reduced to nothing more than woman vs. patriarchy. Unlike Game of Thrones where you can argue in favour of over a dozen characters for the Iron Throne, the Dance is a lot more black and white which makes it more boring.
There’s no philosophical discussion, no critique, nothing to expand on etc. Focus on the maesters makes up for this, now we can have debate on whether or not they were justified in their battle against dragons.
Once the Targaryens lost them they became more dependent on other Houses, they were a stability but no longer a threat. I can see maesters argue about the dangers of Old Valyria, the desecration and blasphemy, the evils of incest and slavery as arguments to destroy the dragons. This is 100x more interesting than simply Blacks vs. Greens.
#house of the dragon#hotd#hotd critical#anti hotd#valyrianscrolls#asoiaf meta#hotd meta#grrm#team black#team Green#anonymous
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Human Hessonite
Weird input about Hessonite as a human
When first seeing Hessonite, one could wonder that she could be head-cannoned to be more ancient in the human timeline than set in the modern era of Steven Universe if she were ever a human and not some space rock person. In particular her physical resemblance and her vibe felt more at home with Assyrian, Mesopotamian or a Sumerian queens or powerful women of the past, with women of those times being like that of the legendary and mythical Queen Semiramis who was a warrior just like Hess or the actual physical resemblance to Queen Puabi.
- The armor’s design had some elements taken from Roman influences with that scale armor and belly ribbon that patrician Roman generals would’ve worn
Also fun fact a lot of Mesopotamian queens have those thick eyebrows and poofy hair as seen below with Queen Puabi. Much like Hessonite.
Statue of a priestess Woman -from the temple of Ishtar in the city of Mari, early dynastic period
A lot of Sumerian statues of both priests and priestesses often have the signature unibrow
#stevenuniverse#art#fanart#hessonite#su hessonite#unleash the light#make hessonite a tumblr sexywoman#mesopotamia#Queen Puabi#Assyrian#historical#history#Steven universe human au#Sorry for the history lesson
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Dyana returning for s2 and possibly being involved in jaehaery's death and thus ultimately making it "aegon's fault" is kinda funny when otherwise the blame would've mostly been put at aemond's feet (daemon's hit on the children aside. and let's be for real, it's definitely going to be daemon's hit, and rhaenyra will look like a hapless bafoon). I never "blamed" aemond for b&c reading f&b, but it very much read as a situation of one thing leads to another. aegon's "involvement" now muddies the waters, which can be interesting, but considering aegon's track record on the show it just seems kinda overkill at this point.
I honestly think that a lot of the ground work of vilifying Aegon and creating the fiction that Aemond is a bad person - despite the fact that no one has ever came at me with a reason that Aemond is a bad person in Season 1. It is all in service of trying to justify "Blood and Cheese" and exonerating Rhaenyra from any blame.
Cause, on the surface, in Fire & Blood, there is actually no justification for the murder of the children. Luke was sent into dangerous territory for a dangerous mission, armed - You are always armed when you're riding a dragon. And he got caught up in a personal grudge and duel of which he is he 100 percent responsible for starting and fostering over near a lifetime of resentment.
The murder of Jaehaerys is supposed to be a monstrous act condoned by monstrous people who are unquestionably the villains of the entire dance. And if you still don't believe that, than all you have to do is look at Viserys II basically putting a Taboo on his own parents names - barring his children and nieces and nephews from ever naming or recognizing Daemon and Rhaenyra as legitimate in any way. And why all of Daemon's children defied his legacy by marrying into his rivals families and continuing their lines.
GRRM has a ton of inconsistencies (Shoutout to @duxbelisarius Military Breakdown series) but he has always baked into the narrative that Rhaenyra was a monster and a villain - and is forever remembered that way by the ASoIaF Universal history, not because of sexist historians, but because of her own children who survived.
The main issue with the telling of this story is that it is being told in the 2020's, in which leftist political activism has become the orthodoxy and official opiate mainstream religion of Hollywood and London entertainment industries. Thus, because of inter-sectional feminism reaching cult like devotion in writers rooms and board rooms throughout mainstream entertainment, they cannot show a woman, a protagonist, becoming evil and acknowledging it as evil.
Don't get me wrong, they're still evil characters doing evil things, it's just that these corrupted and morally bankrupt people think that what they're writing is moral. That in their fucked up algebra "Tragedy" + "Justification" X "Girl Boss" = Morality.
Therefore, as long as they give every woman that has been wronged by Aegon and Aemond justification to avenge a tragedy by being proactive girl bosses, than anything that happens to Jaehaerys is morally right.
Thus, in our minds, what happens in "Blood & Cheese" is an unforgivable and purely evil act of savagery that everyone in Westeros for all time condemns as monstrous.
But to nut jobs like Sara Hess, Olivia Cooke, and Emma D'arcry (Or any "activist" in general) - who is only interested in their political and social agenda - Rhaenyra, Dyana, The White Worm, are villainized by sexist historians for being women of their age with power or agency and that they were justified in their evil acts because they are powerful women. In fact the idea that them being women, in general, is justification enough to do terrible things and see it as morally good, because, they were women.
It's the kind of sociopathic behavior rampant on this site with a bunch of weirdo window lickers cuing over "Let women do crime!" which is fine, but those same people also don't want those same women to face the consequences, to face condemnation, to face justice, for the evil they do.
So, to sum up, I disagree with your premise that Rhaenyra will be in the dark about "Blood & Cheese". What I think is that they're building up moral justifications through villainizing the male characters of Team Green of why Rhaenyra is justified in doing what she and Daemon plan to do.
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Just a little rant about episode 10
See, I'm kinda not interested in Daemon if they ruin his relationship with Rhaenyra. I mean, the only good quality about him is his devotion to her - if the whole Nettles bullshit happens then that's just very 🤮🤮🤮 like, seriously. What's even the point of his character if he's not with Rhaenyra? What and who is he fighting for? They're just out here straight up making him a whole villian by stripping away his few good qualities while they made Aemond's worst crime an accident...this green team whitewashing is off the rails. First Alicent misunderstands Viserys, then Cole "accidentally" kills Beesbury, then Aemond "accidentally" offs Luke. The only one from team green who is actually evil is Larys - but they only give him the job of burning people. He does nothing else, except maybe jerk off. Aegon is a r@pist - but apparently, according to Sara Hess, I'm supposed to feel sympathy for him. Now by season 2 the general audience is gonna forget that he r@ped kids, so everything is fine for them I guess.
Daemon on the other hand is probably gonna do B&C with his own hands, since apparently he's the only bad person in the show and the writers hate him.
When GRRM said that Daemon is a grey character, I thought we would get a grey character. Tyrion and Jaime are grey characters. When is Daemon going to become a grey character - because so far he's been a full blown villian. They cut out every single thing from the book that makes him a grey character and they only left in the bad parts, so now in the eyes of the general audience, he's just a villain.
The ONE person that Daemon was not supposed to lay hands on is Rhaenyra. Him choking her out of nowhere IS character assassination. Yes, he left her in the brothel after he felt guilty, and yes, he killed Rhea (the wife that he never chose and never loved, the wife that he was forced to marry) - but just because he did those things doesn't mean that he would physically abuse the one person that he's meant to love. The actors, the showrunners, the writers (except Sara Hess) have all said that Daemon loves Rhaenyra and Viserys. One dies, so he chokes the other one?
"He wants the throne" No he doesn't?? If he actually wanted it, he could have taken it. If Daemon actually wanted the throne he wouldn't have kneeled before Rhaenyra, he would have easily disobeyed her commands and gone to war by himself. By now Daemon has had a thousand opportunities to take the throne if he actually wanted it.
I'm just so confused now about his character. In one scene he's good, in the other he's bad, then he's good, then he's bad again. In one scene he chokes Rhaenyra, in the next scene they hold hands...and she doesn't question it?? She just doesn't care that he choked her??
#daemon x rhaenyra#house of the dragon#daemon targaryen#hotd#rhaenyra targaryen#daemyra#rhaenyra x daemon#hotd spoilers
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your post inspired me so here's who I think certain saw characters favorite artists would be with no explanation at all:
hoffman: george bellows
amanda: paul cezanne
john: osman hamdi bey
lawrence: allan kaprow
adam: marta minujin
lynn: doris salcedo
strahm: caravaggio
oh i like this!! i want to add some:
the eerie quality of henri de toulouse-lautrec's work (at least imo) feels like it'd be appealing to hoffman. along the same vein, i'd say edvard munch too. ALSO FRANCISCO GOYA. im surprised he wasn’t also painting fucked up shit on his own walls.
amanda would love louise bourgeois, ana mendieta, joan mitchell, and eva hesse. i feel like she'd also be really into fiber arts in general (tamara kostianovsky, kiki smith, raija jokinen). also we know she likes some renaissance/stylistically classical art bc she has the birth of venus print next to her bed in saw 3! i think this is more for gay reasons but i bet she'd like john william waterhouse’s mythological paintings.
i love this one for john! the obvious one for him would be da vinci as well- john's drawings actually remind me a lot of his. i think he wouldn't be into abstraction because “it lacks intellect” or some shit. probably dark, dramatic, pensive baroque art.
i feel like lawrence would be into impressionism but NOT post impressionism!!! he'd be so annoying about it. monet, degas, cassat, etc. i also think he'd enjoy botanical illustrations. probably a fan of edward hopper too.
adam would like jc leyendecker. just based on vibes. others i think he'd enjoy include john singer sargent, norman lewis, lee krasner, yoshitaka amano, salman toor, yayoi kusama... these are all over the place uhhhh i just think he'd enjoy a wide range of styles. now ofc he has favorite photographers, but that is not at all my area of study and the only one i could think of off the top of my head that would fit him is robert mapplethorpe.
for lynn, andrew wyeth makes sense to me- the lonely, empty, desolate feeling his paintings give you would probably speak to her :( agnes martin (ESPECIALLY agnes martin) and louise nevelson would probably appeal to her too.
strahm liking caravaggio is basically canon to me. like of fucking course. for one, he'd just loooove telling people that the Old Master painters are the finest of fine artists just bc he's a dick (and doesn't know shit about art made after like the 18th century). but also caravaggio was gay and killed someone and was murdered so. it fits. he'd probably scoff at rene magritte paintings but deep down he'd really enjoy them.
im obsessed with this ask and i've been drafting this response for a hot minute bc i wanted to put some real thought into it. VERY fun and a great way to procrastinate on work as an art history grad student
#asks#saw movies#saw franchise#having certain thoughts about artworks with religious symbolism and how we could analyze saw movies through them…
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Submitted for the approval of the Midnight Society: the funniest fucking Wikipedia article I've ever read.
It starts off so, so strong.
You know you're getting into some prime, dry-narrative/hilarious-subject Wikipedia magic here. The sheer absurdity of the phrase slaps you in the face like a single, tyrannical testicle. But what is the subject, if not Hitler's lonely genital? To quote:
"Hitler Has Only Got One Ball", sometimes known as "The River Kwai March", is a World War II British song, the lyrics of which, sung to the tune of the World War I-era "Colonel Bogey March", impugn the masculinity of Nazi leaders by alleging they had missing, deformed, or undersized testicles."
And again...
"The song has been cited as an example of morally-correct disrespect that used political mockery to boost morale in wartime."
So, in short, a meme song. A World War II meme song. About Hitler's balls. Ball. But Hitler's ball does not stand alone! We have so many other nads to talk about, as the lyrics propose:
"Hitler has only got one ball,
Göring has two but very small,
Himmler is rather sim'lar,
But poor old Goebbels has no balls at all."
And which, being magical, beautiful Wikipedia, came...
... with reference images...
... the world's most beautifully captioned reference images...
... for every single line...
... of the song. Fuck me, I need these printed on a flag, that I might wave it around at protests.
The article then just delves into analysis, the kind of in-depth Hitler Study analysis that comes from generations of bone-dry academics with respected positions and better salaries than me picking apart every single word, reference, and poetic intimation of a four-line World War II meme song. For example...
Suggestions, opinions, papers written about Hitler's one ball. Respected academics whistling the ball song in between measured responses. And what the hell is mad studies?
Well, that's going to be me for the rest of the night. But no! We mustn't get distracted! If we do, we miss the gender theory!
The Shakespeare!
The guy trying to profit off of the meme song!
The apocrypha!
And the second verse!
Rommel has four or five, I guess,
No one's quite sure 'bout Rudolf Hess,
Schmeling's always yelling,
But poor old Goebbels has no balls at all.
Which is where we get into the most wonderfully Wikipedia part of it all as, being a hyperlinked encyclopedia of everything, every single reference, diversion, supposition, paper, field of study, side subject and random-ass tangent links into an evening's worth of wide-eyed eurekae initiated, again, by a World War II meme song about testicles. Nothing has made me want to donate two bucks to Wikipedia more than this.
History is a liquid. It takes the shape of its container, that being the cultural context of the present moment. The most magical moments in history, I find, are those points when people act like people - Pompeii's dirty graffiti, the fart enlightenment poem, the sports riots, the little obsessions, in-jokes, and memes. That jolt of connection when you see a 2,000-year-old dick drawn onto a latrine wall and recognize not only what it is but why it is - that is actually, seriously one of the most compelling feelings of human unity there is. People are still people. People were always people. Farts will always be funny. When we're alone and scared, we'll sing songs about balls, and that's unironically what makes us wonderful.
And so, in the same vein, to the same melody, but for a new time, I'd like to submit...
Bezos' dick fell off in space
Jerkin' it on the human race
Elon's has got no feelin'
I don't think Zuck had one in the first place.
#hitler has only got one ball#jeff bezos dick joke#zuckerberg no-dick joke#all part of the narrative#the dick narrative
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do you have suggestions for names for future queens that arent magarete?
It's difficult, you know, because the case for Margrethe is just very strong given her predecessors. It's actually one of Danish history's most curious coincidences that QMII became QMII. She was named for her late British grandmother and presumably, at the time of her birth, Frederik and Ingrid were hopeful they'd get themselves a little Christian sooner or later. But she so happens to end up becoming Queen of Denmark and she so happens to share name with the closest we've come to having a female monarch of Denmark. That is pretty amazing, if you ask me.
And ON TOP of I and II, we have Margrethe Sambiria – consort to Christoffer I and first female regent of Denmark – also known as "Margrethe Sprænghest" (or Margrethe Burst-horse!!1!) as she was known to ride horses to their death, leading her army across the country. It's just... difficult to argue against continuing the tradition QMII started since we've just had a myriad of badass Margrethes 😅
BUT, some suggestions:
Thyra – We actually don't know a whole lot about Thyra Danebod yet she's a legend. Mother of the Kingdom of Denmark, what's not to like? (Well, that would be its English pronunciation but hey-ho. Lest we forget that Norway's Ingrid Alexandra would've been Tyra Eufemia had Haakon and Mette-Marit felt bold enough 😂)
Dagmar – You'd think I was naming daughters of Christian IX but I'd give this particular one to Dagmar of Bohemia (actual name Markéta, or in Danish – you guessed it – Margrethe). Again, a legendary Queen and she who gave the Dagmar Cross its name. Doesn't hurt that "we" had a Russian Empress named Dagmar either.
Ingrid – You knew she'd be coming and she doesn't need an explanation. Queen Ingrid was instrumental to the DRF. While it may not be used for a potential firstborn daughter in the forthcoming generation (due to aforementioned Norwegian Ingrid), I can easily see her used in the future.
Louise – It has a dated feel, I understand but hear me out: Technically speaking, the reason the Glücksburgs are on the Danish throne today is because of Louise of Hesse-Kassel 🤷♀️ We've also had no less than 4 Queen consorts named Louise.
Emma – Bit of an outsider, Emma of Normandy does not get the respect nor the attention she deserves. And it's a timeless name!
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hi! thank you for the long answer about the books, you’ve given me motivation to finally read hesse :) you mentioned watching a lot of films, perhaps any artfilms you are passionate about? thank you again for answering ☺️
hi darling! good to see you back in my inbox :) definitely give it a shot, though it did take me a minute to get invested and actually Think about what was being written.
yes! the most recent film i watched, which i'm still thinking about, is Josef von Sternberg's 1927 film Underworld, which is PHENOMENAL. couldn't recommend it enough. the shots are gorgeous and there's a huge emphasis on decadence and overindulgence and lowkey it's giving ménage à trois??? absolutely watch it if you're a fan of the Great Gatsby or the general glitziness of the Jazz Age!
i also just rewatched Christopher Nolan's Memento, which is fucking fabulous and is honestly one of the best pieces of cinema i've ever watched. the artistry behind that and the manipulation of time and memories is literally mindblowing!! i will say, for those who haven't watched, there are jumpscares involving asphyxiation around the middle of the movie so trigger warning for that and there are some depictions of violence and blood, so if that's not your jam, you've been warned lol!!
thank you again for the ask! hopefully i gave you some options to look into, and feel free to pop by if you'd ever like any other recs! have the loveliest day 💚
#ya'll ask i answer#NNanons#btw would you like to claim an emoji so i can tag these two posts? no pressure at all!#NNfilmrecs
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Why Aemond, Alicent, Rhaenyra, Daemon and others have been all whitewashed to the point some of them even became new characters while Aegon has been made worse in the show than his book counterpart? The whole thing about watching children killing eachother when some of them might be his own children is something didn't happen in the book and it's actually ramsay-level sadism, the whole plot line of given his younger brother a sexual trauma was invented by the show, he is so incompetent and drunk all the times. BookAegon was drunken yes but it's no where in the same level of his show counterpart, also Book!Aegon shown cunning and bravery during the war , has a very strong bond with sunfyre, has a good relationship with his wife and children.and all of these traits/things are non existing in Show!Egg . BookEgg always give me the impression that he has a strong mentality and perhaps even internal strength since he went through the worst things any person can go through in a such young age but he never give up until he succeeded in killing rhaenyra . The only times we've seen him show any kind of vulnerability are when his son jaehaerys died and when sunfyre has died. The interpretation of the showrunners of his character is not only very bad but it's also strange , inconsistent and extremely unfair considering how literally everyone has been whitewashed. which makes me wonder, what they will change too? will They make him hiding in the red keep while Aemond fight for him? i feel they will really make him a clone of joffery by being man child , power hungry and coward.
I basically agree with everything you've said, anon. 😭 I've long been complaining about this in my Aegon tag.
Anonymous asked: I honestly doubt the writers were surprised about the low support the Greens have with the general audience and I also think they knew very well what they were doing when they made Aegon a rapist. They can say whatever they want in interviews as it's probably just gaslighting for the fans, to keep the discussion going and to keep us engaged for S2.
I was expecting things to be a lot more balanced between the greens and the blacks at the start of the series. I think perhaps someone in the writers' room really didn't like Aegon as a character or something and Miguel Sapochnik didn't care enough to change it? Or they thought that Aegon's awfulness would be counterbalanced by Daemon's awfulness and the audience would be split?
Sara Hess seemed taken aback that the audience ended up swooning for Daemon, in that she gave explicitly anti-Daemon interviews? But that's .. ?? That's Matt Smith in a wig, every Eleventh Doctor girlie (me included) is gonna swoon for him ?? It's a given that he's gonna have a ton of fans stanning for his character. How is it logical (from a marketing perspective) to pit him against poor Tom, who only gets a couple of minutes of screen time, and expect things to be even steven?
And it's not even the same thing, because Daemon is merely the consort, whereas Aegon and Rhaenyra are leaders of their respective factions, the two options for monarch. You can't whitewash one to the extreme, while giving the other the worst possible interpretation. In a story that is famous for the "both sides bad, all war terrible" angle.
I just don't get it. If they wanted to make the greens the bad guys from the get-go, Aemond was right there, it could have been very easy and convenient to make him some kind of child terrorist, yet they seem to like him a lot and gave him a humanizing plot (??) Whereas Aegon is the one they turn into the monster? Aemond/Daemon being the awful ones would have made more sense, since they're foils already.
This is why I tend to think there must have been some disagreements in the writers' room, because I've heard too many contradicting takes from the showrunners/actors that don't really vibe with what's being displayed on screen. So something must have happened between intention and execution and my guess would be too many chefs in the kitchen.
#ask#anon#aegon ii targaryen#if they decided on the greens being the villains why take so much effort to humanize alicent and aemond#even otto is not nearly as awful as tywin#hotd critical [aegon]
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