Nicola Coughlan I Beauty Secrets I Vogue

The way Aegon desperately wants to fill the conqueror's armor, even when it's evidently too large for him to fully take up. He looks like a boy slipping into his father's coat, a boy whose idea of his father as this invincible figure, who he can never quite reach, is destined to be popped some way or another.

Aegon isn't the only one who clings to the idea of the conqueror as this ideal. His shadow looms large over all of House Targaryen, this almost mythical figure whose legacy all Targaryen try to claim for themselves. They chase after his ghost, believing that to truly be a Targaryen, one must be like him: ruthless, powerful, and above all, victorious. They forget—or perhaps choose to ignore—that his victories were bathed in blood, that his crown was forged in fire and brutality. His legacy is a cursed throne, a throne that cuts most who sit upon it, a throne that pits people against each other.

Generation after generation, Targaryens name their children are after him. Aegon. A name dripping in history and blood and crushed dreams. They hope that this name will bring with them the strength and glory. A babe born to me, wearing the Conqueror's crown. But these hopes are often dashed. These children are caught in the endless cycle of violence that defines their bloodline. They keep meeting more and more horrific fates—murder, madness, betrayal.

The prophecy that the Conqueror himself used as justification for all the blood he spilt, the prophecy so many Targaryen feel like is theirs to fulfill—the promise of a hero who will save the world—only serves to further the rot. This prophecy, ever so vague and open to interpretation, is a way for them to give purpose to the endless wars and the pain. The Conqueror was no savior; he was a man driven by ambition and thirst for power, a man who saw kingdoms as prizes to be won and people as obstacles to be removed. He was a man who saw himself to be superior to others on the basis of what flowed through his veins.

The Past (Thomas Cole, 1838)

The Present (Thomas Cole, 1838)

Hum....

humans are so beautiful

faces dated from 2,000 years ago carved in stone at the Lajes Archaeological Site in Manaus, Brazil

all time ever does is pass and all i ever do is remember.

sue zhao / sexual devotion, nickie zimov / @ seashellronan / nomad, clairo / annihilation, jeff vandermeer / edward scissorhands (1990) / sky vance / dictionary of obscure sorrows / jonny, faye webster / the madman, kahlil gibran / may (2002) / the lonely city, olivia laing / punch and judy, elliott smith

'Tempio della Concordia,' 1955,

Valley of the Temples, Agrigento, Sicily, Italy,

Photo by Konrad Helbig

- Karen M. Dunak, “The White Wedding Revived” in As Long As We Both Shall Love: The White Wedding in Postwar America

Cinema in Naples, 1956

Annie: There are legends of people born with the gift of making music so true, it can pierce the veil between life and death; conjuring spirits from the past...and the future. In ancient Ireland, they were called Filí. In Choctaw land, they called them Fire Keepers. And in West Africa, they were called Griots. This gift can bring healing to their communities. But it also...attracts evil....

Sinners (2025)