“so Lucerys / Jaehaerys / Rhaenys Died For Nothing?”

"courtesy is a lady's armor" is what sansa repeats to herself in king's landing while she's being held hostage and is at the mercy of people who seek to use her as a political pawn for their own gains (the lannisters and the tyrells). it is not meant to be aspirational, it's a coping mechanism which she uses to make herself small and invisible to survive the mental and physical torment being heaped on her by a society which only recognises her value in the form of her reproductive capabilities and expects her to remain a docile object, not an active participant in her own life. and internalising such an ideal begins her loss of identity arc. presently she's sequestered in the vale, forced to leave behind her name and her home, to forget who she is. because that's what it does to you, hollowing yourself out to meet the expectations of feudal patriarchy until your will is broken. catelyn experiences it in a literal sense with stoneheart serving as a metaphor for this process. and obviously what is happening to sansa is not her fault, neither her nor catelyn are being criticised by the text for performing feminity, it's a criticism of the exploitation of young girls by westerosi society, something that is enforced and achieved and passed down through those songs about dutiful ladies awaiting gallant knights in their towers. the key here being that the version of heroism preached in those songs (able bodied, all men, all handsome - a definition which excludes bran, tyrion, sandor, brienne) and the role of women as passive agents is what's being questioned, not the notion of performing goodness in a broken world. sansa is right to be a dreamer, to be kind—that's what makes her a hero. but her arc is also about unlearning those harmful foundational myths of westerosi society.

“Oh, David,” Genya said, taking his hand. “You’ve never threatened to murder anyone for me before.” “Haven’t I?” he murmured distractedly, placed a kiss on her knuckles, and continued reading. (Leigh Bardugo’s King of Scars CH 9)

no mourners, no funerals

if you are struggling with choosing which fundraisers to support, please consider donating to the following places providing medical aid, food, and other supplies to palestine at this time:

donate to doctors without borders here

donate to careforgaza here, providing food, medicine and clothing

donate an e-sim to gaza today

donate feminine hygiene kits for women in gaza

donate to the palestinian civilian relief fund

donate to the palestine children's relief fund

donate to the world food programme

donate medical aid for palestinians

donate to the united nations relief for palestine refugees

donate to healpalestine

if you are looking for individual fundraisers to donate to but are struggling to choose, gazafunds gives a spotlight to fundraisers that are not close to their goal.

instead of watching and supporting eurovision tonight, please instead boost this post & donate if you can. keep your eyes on rafah.

⠀

⠀⠀⠀⠀⠀⠀⠀⠀⠀png⠀⠀images⠀⠀♡

⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ 𝑏𝑦⠀⠀lotomiel

⠀

You'd be absolutely right.

and if i said aging down alicent and aging up rhaenyra annoyed me because it completely whitewashes the sansa/cersei parallels so all alicent gets is the sad, palatable parts of cersei and all of rhaenyra's sansa-ness is completely scrubbed from her personality what then

Did you find what you needed?

"I have lots of wishes, but my favorite one is to be an artist in Paris and to do fine pictures and to be the best painter in the world."

"That's what you want too, isn't it, Jo? To be a famous writer?"

"Yes, but it sounds so crass when she says it."

@pscentral event 35: parallels

↳ jo and amy march in little women (2019), dir. greta gerwig

sorry my son lectured your son for watching the counter-revolutionary children's show "paw patrol", but to be fair it is copaganda

The worst thing about rhaenicent is its infinite potential