Wait What's A Buildings Fire Evacuation Plan If You Aren't Supposed To Use The Elevator To Get Down

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What really angers people about Criston and Alicent is that Criston perceives himself as a protector to Alicent FROM Rhaenyra. A lot of people take what he said about Rhaenyra being a spider as him still being angry and rejected, and given the lack of media literacy among this fandom, I get that.

But Criston said that in response to Aemond shaming Alicent, and implying that she is a liar and a hypocrite. Aemond accused Alicent of having love for the enemy, and indirectly he is calling her a traitor. Criston was not thinking of Rhaenyra nor did he care to mention her until he perceived Aemond's comments as threatening Alicent due to her feelings toward Rhaenyra. He does not mention in depth what happened to him, but he does mention Alicent and Rhaenyra's relationship and basically explains to Ameond how Alicent was manipulated by Rhaenyra and lied to.

And that is true. Rhaenyra did lie to Alicent years ago which resulted in her father being dismissed and her being utterly alone at court. Rhaenyra manipulated Viserys into not really giving a fuck about Aemodn losing an eye all those years ago, and that negatively impacted Alicent.

Criston doesn't really care nor think of Rhaenyra in regards to himself -- he thinks of her as a danger and threat to Rhaenyra.

And because so many people dont really care for Alicent outside of Rhaenyra, this idea that someone is protecting Alicent and her honor from Rhaenyra infuriates them because in their eyes, Alicent exists for Rhaenyra. She exists to take abuse, manipulation, and shame from Rhaenyra.

Keep in mind, both Criston and Alicent faced sexual violence at the hands of Targaryen royalty, and that is something no one else can understand. That unique experience to them dictates their connection and how they act with one another. Criston was never actually able to seek justice for what happened to him, but he doesn't want Alicent to be soiled.

Alicent and Criston, through victims of trauma and abuse, and just being subservient to Targaryens, are always going to have a deeper, more meaningful and trauma-related bond than Rhaenyra and Alicent and I think that pisses people off.

As a disabled person, I feel this so much. Yes, we‘re not lesser than anyone else, not any less deserving of happiness and recognition but sometimes we have to work harder for things, because people around us won‘t see it that way otherwise.

Also as an aside most people are disadvantaged in one way but might have some privilege compared to others and most people have to compensate for something they shouldn‘t have to compensate for.

Aemond had to compensate for not having a dragon and being seen as lesser for it, Jace had to compensate for not looking remotely Valyrian. In both instances they shouldn‘t have been bullied in the first place, but both lads worked to overcome their problems. Rhaenyra just doesn‘t.

I finally formulated why I don't like Rhaenyra. And it's not about misogyny, or even that I find her boring (although I do). If we look at this story the way TB fans do it, then we get something like "a woman fights the system in a patriarchal world." It sounds great, it sounds like a story that I might like. But does she fight? Because the problem is that she doesn't. She doesn't fight. And the whole rhetoric of TB fans usually boils down to "you demand from Rhaenyra what you wouldn't demand from a man in her place." But isn't that how it works? If you live in a place where women aren't considered equal to men, you should try to become ten times better than any of them in order to earn respect, and that's normal. Characters who understand the realities of their world and accept them to fight injustice command respect. At the same time, Rhaenyra didn't do anything - she just wanted the world around her to change itself for her convenience, so that the rules by which it worked before she was born would simply be forgotten at the snap of her fingers. She wasn't trying to prove that she was worthy of being a queen, she wanted to be respected just because her father ordered it, but it doesn't work that way. That's why I don't like her - she wanted the world to change on its own, instead of trying to change it with her own efforts.

Rhaenyra and Aemma

I think it's interesting we see this exchange from Alicent and Rhaenyra:

ALICENT: You're worried your father is about to overshadow you with a son. RHAENYRA: I only worry for my mother. I hope for my father that he gets a son. As long as I can recall, it's all he's wanted.

And then in the next scene we hear from Aemma:

AEMMA: Rhaenyra has already declared that she is to have a sister. VISERYS: Really? AEMMA: She even named her. VISERYS: Dare I ask? AEMMA: Visenya. She chose a dragon's egg for the cradle that she said reminded her of Vhagar.

At first I thought that Rhaenyra was hiding her true desire from Alicent for us to hear the truth from her mother. And if it were just that- no shade AT ALL. I mean, why not have ambition? Why not want to be heir? Why not want to rule?

But I do think that Rhaenyra's emotions about being heir are more related to being loved and being valued by her parents. Her entire life she has not been enough- she has seen her mother go through all of these tragic stillbirths as a child and of course she would come to the conclusion that her mother's pain and her father's insistence on a son means that she is not enough. So there is already some resentment about the idea of a brother. But I don't think it's so much that, as Alicent says, she is frightened of the son overshadowing her. It is more that she is hurt that the pursuit of a male heir has been overshadowing her for her entire life.

I do believe her when she said that she hopes her father gets a son though- even though it hurts her, she would be happy for him I think. And it would be a relief that this painful pursuit of a male heir would be over for her mother. But then why does she declare that she is to have a sister?

I think that maybe it is to make Aemma feel less stressed honestly. We see how upset Aemma is when she talks to Viserys about the pressure she is under to produce a male heir:

AEMMA: The tourney to celebrate the firstborn son that we presently do not have. You do understand nothing will cause the babe to grow a cock if it does not already possess one?

And then after he tells her his dream again:

AEMMA: Born wearing a crown? Gods spare me, birth is unpleasant enough as it is. This is the last time, Viserys. I've lost one babe in the cradle, had two stillbirths, and two pregnancies ended well before their term. That's five in twice as many years. I know it is my duty to provide you an heir, and I'm sorry if I have failed you in that. I am. But I've mourned all the dead children I can.

This is so heartbreaking. Aemma is under so much pressure and has dealt with so much grief- and feels as though she failed Viserys and the realm. And so I think that Rhaenyra is trying to boost her mother's spirits and telling her that it will be wonderful if the baby turns out to be a girl. It goes deeper, I think, than Rhaenyra not wanting a boy to overshadow her. As I mentioned before, the quest for a boy has already overshadowed he and it is not as though she will be heir (or so she believes) even if the baby is a girl. Daemon is currently heir and I am sure Rhaenyra doesn't think that will change. I think she is telling her mom she is hoping for a girl so that her mother does not feel like she failed if the baby is a girl. I think she is acting out excitement and anticipation for a girl because she feels like she didn't have that for her own birth. She probably thinks that her birth was a disappointment for her father and her mother. Should the baby happen to be a sister this time, she doesn't want the her to come into the world as a disappointment like she did. She wants her sister to come into the world wanted and valued.

I think it makes sense that Rhaenyra would do this because we can see Rhaenyra's concern for her mother in their first (and last!) exchange:

RHAENYRA: Did you sleep? AEMMA: I slept. RHAENYRA: How long? AEMMA: I don't need mothering, Rhaenyra. RHAENYRA: Well, here you are, surrounded by attendants, all focused on the babe. Someone has to attend to you. AEMMA: You will lie in this bed soon enough, Rhaenyra. This discomfort is how we serve the realm.

It's interesting that Aemma says "I don't need mothering," because her own mother, Daella Targaryen, died in childbirth (they don’t mention it in the show but it is in Fire and Blood.) So she would have grown up without mothering. It also struck me that while Aemma tries to mother Rhaenyra by giving her practical advice about “the order of things” for a woman in their world, Rhaenyra’s style of “mothering” Aemma is to point out how important she is and to ensure that she is being taken care of- and prioritizing her above the baby. It’s sad because Rhaenyra is essentially mothering her own mother in the way she wishes she was mothered. Rhaenyra wants to live in a world where, as Arya Stark said, “The woman is important too!” And it’s a glimpse of how she would have mothered her own stillborn daughter, Princess Visenya, or supported a sister if one had been born to her parents.

I would be very interested in hearing the museum design rant

by popular demand: Guy That Took One (1) Museum Studies Class Focused On Science Museums Rants About Art Museums. thank u for coming please have a seat

so. background. the concept of the "science museum" grew out of 1) the wunderkammer (cabinet of curiosities), also known as "hey check out all this weird cool shit i have", and 2) academic collections of natural history specimens (usually taxidermied) -- pre-photography these were super important for biological research (see also). early science museums usually grew out of university collections or bequests of some guy's Weird Shit Collection or both, and were focused on utility to researchers rather than educational value to the layperson (picture a room just, full of taxidermy birds with little labels on them and not a lot of curation outside that). eventually i guess they figured they could make more on admission by aiming for a mass audience? or maybe it was the cultural influence of all the world's fairs and shit (many of which also caused science museums to exist), which were aimed at a mass audience. or maybe it was because the research function became much more divorced from the museum function over time. i dunno. ANYWAY, science and technology museums nowadays have basically zero research function; the exhibits are designed more or less solely for educating the layperson (and very frequently the layperson is assumed to be a child, which does honestly irritate me, as an adult who likes to go to science museums). the collections are still there in case someone does need some DNA from one of the preserved bird skins, but items from the collections that are exhibited typically exist in service of the exhibit's conceptual message, rather than the other way around.

meanwhile at art museums they kind of haven't moved on from the "here is my pile of weird shit" paradigm, except it's "here is my pile of Fine Art". as far as i can tell, the thing that curators (and donors!) care about above all is The Collection. what artists are represented in The Collection? rich fucks derive personal prestige from donating their shit to The Collection. in big art museums usually something like 3-5% of the collection is ever on exhibit -- and sometimes they rotate stuff from the vault in and out, but let's be real, only a fraction of an art museum's square footage is temporary exhibits. they're not going to take the scream off display when it's like the only reason anyone who's not a giant nerd ever visits the norwegian national museum of art. most of the stuff in the vault just sits in the vault forever. like -- art museum curators, my dudes, do you think the general public gives a SINGLE FUCK what's in The Collection that isn't on display? no!! but i guarantee you it will never occur, ever, to an art museum curator that they could print-to-scale high-res images of artworks that are NOT in The Collection in order to contextualize the art in an exhibit, because items that are not in The Collection functionally do not exist to them. (and of course there's the deaccessioning discourse -- tumblr collectively has some level of awareness that repatriation is A Whole Kettle of Worms but even just garden-variety selling off parts of The Collection is a huge hairy fucking deal. check out deaccessioning and its discontents; it's a banger read if you're into This Kind Of Thing.)

with the contents of The Collection foregrounded like this, what you wind up with is art museum exhibits where the exhibit's message is kind of downstream of what shit you've got in the collection. often the message is just "here is some art from [century] [location]", or, if someone felt like doing a little exhibit design one fine morning, "here is some art from [century] [location] which is interesting for [reason]". the displays are SOOOOO bad by science museum standards -- if you're lucky you get a little explanatory placard in tiny font relating the art to an art movement or to its historical context or to the artist's career. if you're unlucky you get artist name, date, and medium. fucker most of the people who visit your museum know Jack Shit about art history why are you doing them dirty like this

(if you don't get it you're just not Cultured enough. fuck you, we're the art museum!)

i think i've talked about this before on this blog but the best-exhibited art exhibit i've ever been to was actually at the boston museum of science, in this traveling leonardo da vinci exhibit where they'd done a bunch of historical reconstructions of inventions out of his notebooks, and that was the main Thing, but also they had a whole little exhibit devoted to the mona lisa. obviously they didn't even have the real fucking mona lisa, but they went into a lot of detail on like -- here's some X-ray and UV photos of it, and here's how art experts interpret them. here's a (photo of a) contemporary study of the finished painting, which we've cleaned the yellowed varnish off of, so you can see what the colors looked like before the varnish yellowed. here's why we can't clean the varnish off the actual painting (da vinci used multiple varnish layers and thinned paints to translucency with varnish to create the illusion of depth, which means we now can't remove the yellowed varnish without stripping paint).

even if you don't go into that level of depth about every painting (and how could you? there absolutely wouldn't be space), you could at least talk a little about, like, pigment availability -- pigment availability is an INCREDIBLY useful lens for looking at historical paintings and, unbelievably, never once have i seen an art museum exhibit discuss it (and i've been to a lot of art museums). you know how medieval european religious paintings often have funky skin tones? THEY HADN'T INVENTED CADMIUM PIGMENTS YET. for red pigments you had like... red ochre (a muted earth-based pigment, like all ochres and umbers), vermilion (ESPENSIVE), alizarin crimson (aka madder -- this is one of my favorite reds, but it's cool-toned and NOT good for mixing most skintones), carmine/cochineal (ALSO ESPENSIVE, and purple-ish so you wouldn't want to use it for skintones anyway), red lead/minium (cheaper than vermilion), indian red/various other iron oxide reds, and apparently fucking realgar? sure. whatever. what the hell was i talking about.

oh yeah -- anyway, i'd kill for an art exhibit that's just, like, one or two oil paintings from each century for six centuries, with sample palettes of the pigments they used. but no! if an art museum curator has to put in any level of effort beyond writing up a little placard and maybe a room-level text block, they'll literally keel over and die. dude, every piece of art was made in a material context for a social purpose! it's completely deranged to divorce it from its material context and only mention the social purpose insofar as it matters to art history the field. for god's sake half the time the placard doesn't even tell you if the thing was a commission or not. there's a lot to be said about edo period woodblock prints and mass culture driven by the growing merchant class! the met has a fuckton of edo period prints; they could get a hell of an exhibit out of that!

or, tying back to an earlier thread -- the detroit institute of arts has got a solid like eight picasso paintings. when i went, they were kind of just... hanging out in a room. fuck it, let's make this an exhibit! picasso's an artist who pretty famously had Periods, right? why don't you group the paintings by period, and if you've only got one or two (or even zero!) from a particular period, pad it out with some decent life-size prints so i can compare them and get a better sense for the overarching similarities? and then arrange them all in a timeline, with little summaries of what each Period was ~about~? that'd teach me a hell of a lot more about picasso -- but you'd have to admit you don't have Every Cool Painting Ever in The Collection, which is illegalé.

also thinking about the mit museum temporary exhibit i saw briefly (sorry, i was only there for like 10 minutes because i arrived early for a meeting and didn't get a chance to go through it super thoroughly) of a bunch of ship technical drawings from the Hart nautical collection. if you handed this shit to an art museum curator they'd just stick it on the wall and tell you to stand around and look at it until you Understood. so anyway the mit museum had this enormous room-sized diorama of various hull shapes and how they sat in the water and their benefits and drawbacks, placed below the relevant technical drawings.

tbh i think the main problem is that art museum people and science museum people are completely different sets of people, trained in completely different curatorial traditions. it would not occur to an art museum curator to do anything like this because they're probably from the ~art world~ -- maybe they have experience working at an art gallery, or working as an art buyer for a rich collector, neither of which is in any way pedagogical. nobody thinks an exhibit of historical clothing should work like a clothing store but it's fine when it's art, i guess?

also the experience of going to an art museum is pretty user-hostile, i have to say. there's never enough benches, and if you want a backrest, fuck you. fuck you if going up stairs is painful; use our shitty elevator in the corner that we begrudgingly have for wheelchair accessibility, if you can find it. fuck you if you can't see very well, and need to be closer to the art. fuck you if you need to hydrate or eat food regularly; go to our stupid little overpriced cafeteria, and fuck you if we don't actually sell any food you can eat. (obviously you don't want someone accidentally spilling a smoothie on the art, but there's no reason you couldn't provide little Safe For Eating Rooms where people could just duck in and monch a protein bar, except that then you couldn't sell them a $30 salad at the cafe.) fuck you if you're overwhelmed by noise in echoing rooms with hard surfaces and a lot of people in them. fuck you if you are TOO SHORT and so our overhead illumination generates BRIGHT REFLECTIONS ON THE SHINY VARNISH. we're the art museum! we don't give a shit!!!

After the Wedding

(Study, The Dedication

Edmund Blair Leighton, 1908)

In the years since, they had never spoken of what happened in the Godswood when she found him with his dagger, but she knew he must think about it constantly. That night had changed his life forever. She would never forget the sight of him kneeling in the moonlight. At first she thought he was praying. When she saw the steel in his hand, panic gripped her and she called out to him. After years of not being heard she was surprised when he looked up. Her voice in the darkness had saved his life that night. If she had been even a half minute later she would have come upon his blood spilt on the grass and heard his dying words.

Instead, she was there to take his hand and pull him back from the darkness threatening to consume him. She pried his dagger from his tight grip and took his shaking bloody hands in hers. She did not flinch away from Ser Joffrey’s blood even when it was staining her hands as well. When he was done crying she gently wiped away his tears like she did for her children. She knelt in the wet grass with him without a care for her fine dress and spoke to him softly of second chances and forgiveness. After everything he confessed to her, all she knew he had done, he could not believe she found it in her heart to forgive him. But she did so without hesitation. He had thought himself completely lost but she looked upon him and somehow saw a man worth saving. That was the first time they prayed together. They prayed to The Father for the strength to push forward and when they were done, he put away his tears and swore himself into her service.

“I will shield your back and keep your counsel and give my life for yours if need be. I swear it by the old gods and the new.”

“I vow that you shall always have a place by my hearth and meat and mead at my table. And I pledge to ask no service of you that might bring you dishonor. I swear it by the old gods and the new.”

-

It had been very difficult to protect him from House Velaryon in the aftermath. Ser Laenor wanted his head, others called for The Wall. Luckily, Viserys had fallen deeply unwell at the wedding and was not in any state to interfere while she scrambled to save Ser Criston’s life. Commander Westerling had tried to stop her from taking him into her service but she was the Queen of the Seven Kingdoms and he could not deny her when King Viserys was not there to order him otherwise. It was the first time she had ever been able to wield her crown effectively towards her own ends.

After speaking with Westerling, she went to see her husband. He was barely conscious from the milk of the poppy and in a great deal of pain. It was horrible to see him in such a state. He might not be the man she would have chosen for herself but he was still the man she swore herself to. She promised she would help him through his illness and she had meant it. She sent Maester Orwyle on an errand and tended to Viserys like a loving wife was supposed to, gently changing his bandages and calming any agitation. Though he was barely conscious he seemed happy to see her and relieved to have her comfort. She gently held his blackened hand and told him everything would be alright. When he had a moment of clarity she seized the opportunity to sway him to mercy. He need not worry, Princess Rhaenyra was safe because of Ser Criston Cole. Ser Joffrey Lonmouth had made threats against her and their Kingsguard had done his job, albeit more brutally than was necessary.

“Do not punish a loyal knight, Viserys. Give him to me to keep our children safe and he will be far from House Velaryon.” She whispered to him. Viserys mumbled in agreement, far too weak to voice a different opinion. She thanked him for his understanding, recalled Maester Orwyle, and quickly left to secure Ser Criston’s safety before Ser Laenor could find him.

But Ser Laenor was already stalking the hallways waiting for Ser Criston to show his face. A confrontation between them could not be allowed. Ser Laenor was a dragon rider and revered warrior but he would not stand against a knight as skilled as Ser Criston. If Cole killed Laenor defending himself from his revenge she would not be able to save him from House Velaryon.

“Ser Laenor…”

“Where is he?” She had never seen him look so discomposed. He was furious, eyes red and raw from his tears. He had cleaned the blood from his face but there was still some under his chin and on his fine clothing. She might have pretended she did not know what he was talking about, a method that helped her deal with Prince Daemon when he had his fun needling her with his distasteful jokes, but Laenor was not playing games.

“Ser Laenor, congratulations on your…”

“Where is Ser Criston Cole?” He nearly shouted. “I know you know. Westerling said as much.” He gestured at the blood on her dress. “Where is he?!”

“Ser Joffrey threatened the princess in front of a Kingsguard, what did he think would happen?” She replied, trying to sound queenly.

“Ser Joffrey would not do that, I know him!” He said furiously.

“Yes, I know how well you know him.” She retorted quietly, tactfully following his lead and not using the past tense. You knew him. “If you drag Ser Criston into a duel or trial much will come to light your father wants hidden.”

“Are you threatening me?” He was hoping for an excuse to escalate but she would not let him. She kept her voice lower than his and spoke slowly and gently.

“I am telling you that pursuing revenge for your friend will bring you only trouble of your own making. Ser Joffrey is gone. He would not want you to bring yourself more pain by laying out all of your family’s secrets to the court.”

“You don’t know what he would want.” He hissed.

“I know that moving forward and facing your duty is more honorable than seeking revenge. Now is a time to make your family stronger, not weaker. You should go and tend to your new wife. My stepdaughter is surely waiting for you.” For a moment he looked bitterly hopeless at the thought of his marriage bed. She briefly felt a twinge of pity for him. She knew that feeling of sickening dread and resignation all too well.

“This is not over.” He glared at her. “Ser Criston Cole will pay for this.”

“Good night, Ser Laenor.” She forced the conversation to a close and politely took her leave, careful not to walk too quickly. She needed to look confident but her heart was hammering in her chest. She took the long way back to her chambers in case he thought to follow her.

-

“Ser Laenor is looking for you.” His face remained ashen, miserable, guilty and disgusted with himself but he did not look surprised.

“I should go and face him…”

“No.” She said at once. “Give it time. At least till tomorrow, he isn’t thinking straight. Let Rhaenyra comfort him first.” He stiffened at the mention of the princess but nodded. She sighed.

“It seems we are both meant to spend our lives here in Kings Landing with no other possible path laid ahead, as much as we might wish otherwise.” she said carefully. “We both are also in need of allies. I can protect you from Ser Laenor and House Velaryon and you can protect me and my children from…everything else.”

“Everything else?” She hesitated a moment but pushed forward. An honest conversation was what was needed here. It was passed due. She had to be clear in what she needed from him. She could not muddy the waters by speaking too cryptically. She kept her voice low, in case there was someone listening in the walls.

“You trusted me with the truth and I will do the same,” she said quietly but frankly and took a step closer. He shifted uncomfortably. “Prince Daemon and Princess Rhaenyra will one day turn their sights on my children and they will spill their blood to secure the throne. Mine and my fathers as well for good measure. I know that now. They have grown to bitterly hate us. I have no one to help me stop this from happening. I may wear a crown but my influence here is limited, my father is banished and my husband...my husband is willfully blind to the conflict in our family. Only you have defeated Daemon in combat, I fear only you can help us.”

“I am not worthy of your confidence, your grace. I have done…terrible things…why would you trust me with your children?” He nervously wiped his palm on his trousers subconsciously, as if Ser Joffrey’s blood still stained his hands.

“It is only decent people who feel shame, Ser Criston. Only a penitent heart deserves forgiveness. Do you think Rhaenyra regrets anything that she does? Do you think she has shed a single tear for the hurt she has caused?”

“Probably not.” She shook her head in agreement.

“Sometimes I think that must be an easier way to live but you and I are not made that way. I am grateful for that. And I would be grateful to have you in my household. When you told me the truth last week you proved yourself a better man than you believe yourself to be. We all make mistakes but those missteps do not need to define us if we strive to be better.”

“Thank you, your grace.” He still looked sad. She hesitated but then went and slowly sat where she had when he confessed to her. He stood before her and did not sit beside her again.

“I used to think my friendship with Rhaenyra would be enough to protect me and my family.” She said gently. “She was my closest friend, for years and years. I thought she always would be. But we have both seen what friendship means to her. We should have seen it sooner, before she could hurt us. But now we know the truth; we are not important to her. If we are both to survive here we need to protect ourselves and each other.” He nodded miserably. “When you swore yourself to me you did not know what you were stepping into, I apologize for that but my family sorely needs you and your sword.” He nodded again then knelt before her.

“My sword is yours, your grace.”

If he commited a war crime than there must have been a war. You kind of need one to have the other. Otherwise it would have been a „crime against peace“, but at a cursory analysis of the facts that does not seem to fit the bill either, and is very rarely used.

You are contradicting yourself.

European Union Agency for Asylum

6.2.1. Crime against peace, war crime, or crime against humanity

The European Union Agency for Asylum - EUAA is an agency of the European Union mandated with supporting Member States in applying the packag

Otto being there to prevent war from spreading does not negate war having broken out. It merely means that the Greens are willing to avoid further bloodshed. I will admit however that me calling Rhaenys‘ massacre of Non combattants (which according to our standards should have been protected from the hostilities) the first act of war, was somewhat debatable. It could just as well be regarded as an act of Terrorism.

In any case the Greens were justified acting as if at war, because the blacks did the same:

Her first act was to declare Ser Otto Hightower and the Dowager Queen Alicent as traitors and rebels. (G.R.R.Martin, Fire and Blood, Dublin 2018 this edition 2020 p. 408) (Highlights mine)

That is as formerly a declaration of war as we ever got. And it did not come from the Greens.

As with regards to what Alicent and Otto thought on the matter:

„Queen Alicent went pale when she heard what he had done crying „mother protect us all.“ Nor was Ser Otto pleased „You only lost one eye,“ he is reported to have said „how could you be so blind?““ (G.R.R.Martin, Fire and Blood, Dublin 2018 this edition 2020 p. 422) the word warcrime does not appear on the page once what does appear however is the term kinslayer, and that seems to be what Alicent is so horrified about, as no crime is so accursed in the eyes of both gods and men. Otto meanwhile seems to be of the Fouché-mindset „This is worse than a crime, it is a mistake.“ (Yes, I know the quote is sometimes attributed to Talleyrand or others)

And later we have this line from Alicent with regards to Lucerys‘ death:

„Bastard blood, shed at war“ (G.R.R.Martin, Fire and Blood, Dublin 2018 this edition 2020 p.483) (Highlights mine)

So in what capacity was he there then? Into which category does he fit? Was he trying to surrender? Was he trying to arrange an exchange of prisoners? and how was Aemond supposed to know that from what was spoken?

Calling an envoy, a soldier and a threat, is quite literally the dumbest thing you can say. They are basically postmen with diplomatic immunity. It really sums up the extent of intelligence I have come to expect from team green fans. Lucerys was innocent and he will keep being it, murdering him was a war crime + king slaying being a taboo.

You can take your stupid posts somewhere else. Him saying "I will not fight you" isn't a joke, he is representative of borros's enemy and his only Job is to take a letter and bring back an answer, if he joins in fighting he starts a war.....like aemond did.

Running theme here is: The Time-Jumps fucking suck. We went from „I do not want children“ to „Oh look! I‘m giving birth to my third child!“ without ANY build-up and then went from tortured longing that can never be to „Quickie in the middle of the day“ without any explanation on how the fuck we got there.

the fact that we are going to have to sit through multiple alicent/crispy scenes this season and didn't even get ONE harwin/rhaenyra scene last season is a crime

I'm gonna need these people to stop mixing the book with the show because frankly not everybody has read the book but we have watched the show which clearly shows Alicent as a victim who's just trying to keep her children and herself safe and also shows rhaenyra being the stupidest targaryen woman to ever live, but because y'all wanna keep trying to make rhaenyra the saint in the whole situation and act like she can't do any wrong, y'all bring up the book because y'all know that if y'all didn't you would have to be forced to face the fact that you're all wrong about rhaenyra and that she is literally the person that y'all want Alicent to be

"what do i do now that i finished the hunger games books?"

if i may suggest:

- listen to the katniss chronicles by tkc productions.

- read peeta's games trilogy by igsygrace on ao3.

- check out @everlarkficquestions's and @thgfanfictionlibrary's masterlists and have a blast reading fics.

- watch the film adaptations and lustily point out the discrepancies from the books.

- search everlark + edit on twitter. here's a thread of my favorites.

- search the hunger games + art on tumblr.

- make hunger games/everlark boards on pinterest.

- curate hyper-specific hunger games playlists.

- get crazy wild with headcanons (and write them down if you want).

- doodle everlark or any characters doing the most random things.

- stare at a wall.