Looking through a Toyfare magazine from 2004 and found what might be my favorite ad ever

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@branwinged
Looking through a Toyfare magazine from 2004 and found what might be my favorite ad ever

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KURT EGYIAWAN as GRAND MAESTER ORWYLE HOUSE OF THE DRAGON // 3.05Â Unbowed and Unbent
One can easily imagine the following exclamations uttered by Clarissa, Pamela, or Emily in the depths of Udolpho: “The castle is a veritable prison, and I am a prisoner” (39; ch. 2); “Then the horror overcame me, and I sank down unconscious” (56; ch. 3); “I came back to my room and threw myself on my knees. It is then so near the end? To-morrow! To-morrow! Lord, help me, and those to whom I am dear!” (70; ch. 4). In fact, these are all sentences from Harker’s journal.
Dejan Kuzmanovic, “Vampiric Seduction and Vicissitudes of Masculine Identity in Bram Stoker’s Dracula”
you're my brother and to some extent my wife
well no but to get this because of an untagged post with less than 15 notes which was talking about something else entirely kind of worrying please don't follow me if you feel inclined to send asks of this sort

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Always thinking about that post that’s like you know a shows fucked when people can name individual writers.
⛓️
Clinton Liberty as Addam of Hull HOUSE OF THE DRAGON | 3.05
gifsets of daemon and ormund having a meltdown in 1.03 and 3.04 are going around which yeah i won't say it's not a callback to that but unlike ormund daemon was specifically mad about the fact that his family relation was going to help him win the war. one of these instances is just funnier

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(apologies if you've discussed this before but) do you think that the lack of smallfolk povs in asoiaf works to its detriment as a work which condemns their suffering as a byproduct of political conflict? it's a perspective i've only encountered recently and i've been pondering it
that depends on what you think the books are doing and i would say asoiaf has never attempted to do a serious critique of monarchy as a mode of governance, it's mostly a work about intra-aristocratic conflict in a fantasy world. martin's commentary on power involves acknowledging that yes all power structures are kept in place through systemic violence but it might be possible to redeem that power, so to speak, by using it well. a really obvious way i find this to be true is that the ideal of kingship in asoiaf is somewhat in play with the divine right of kings.
gods may or may not exist within the world of ice and fire but magic/prophecy is real. “if the world of men is to survive, a targaryen must be seated upon the iron throne” and “there must always be a stark in winterfell” are suggesting the same thing, that both families are divinely appointed (prophesied, that is) to be protectors of the realm during the long night, something that's owed to the fact of their magical bloodlines. this is something the fandom elides because it's a regressive fantasy trope that has its roots in biological racism—blood as inherent destiny—it's true within the text though. i believe martin has attempted to complicate this by implying that the valyrians magically altered their dna to be able to bond with dragons and that the starks' ability to skinchange is owed to their history of conquest in the north. i remember there was this paragraph in twoiaf about them taking the daughters of the warg king (skinchanger) and the marsh king (greenseer) as hostages/brides and the implication very much was that this is how they introduced those traits into their line. but it strikes me as, you know, to be able to have your cake and eat it too.
so both families have historically come to power through brutal, magical subjugation of other people but the narrative never actually frames the dragons, the weirwoods, or wargs as corruptions of the natural order of the world, instead the present generation of the starks and the targaryens just have to reckon with that historical abuse of power, and they're only able to do this because of their access to the same magic, not by their rejection of it (substitute "magic" for "political power" here and the sentiment remains the same) dany has to end the imperial legacy of the valyrian freehold with her dragons, bran as the last greenseer has to help the children of the forest to do what i don't know, that'll be revealed in twow, but he has to help them after they were originally subjugated by his stark ancestors, jon as lord commander must put an end to centuries of violence against the free folk in the north, and arya's story is most likely leading up to a restoration of order in the riverlands after it was ravaged by her brother's armies. i think we can all agree that if this was a seriously leftist work of speculative fiction we would be getting the povs of these subjugated classes and their own attempts at resistance, instead of it all being told through the lens of these nobleborn characters who're simultaneously positioned by the narrative as their saviours to varying degrees. but martin's not interested in that, he is interested in telling a story about the fantasy of a good king who'll heal the land and its people. and that's fine. asoiaf has never pretended to be anything else.
assad for wonderland magazine
Just remembered this and I need some knitting enthusiast in London to get deeply unwell about it ASAP
It was likely knitted in the 1700-1750 range and it’s 3 meters in circumference at the widest point. They cast on approximately 2650 stitches. It’s seamless and how exactly it was knitted (well before circular needles!) remains somewhat uncertain
It’s also covered in animal and plant patterns which do not repeat at any point.
As far as I can find, there are no true recreations of any part of it have been made (one woman made an attempt for a bit of it but details her struggles here) and the pictures the V&A have are mediocre at best making reverse engineering hard, but it’s available by viewing request at their East Storehouse so a particularly passionate person could theoretically get better access to make better efforts.
re: adaptation and the supposed “purity” of the original work it’s complicated right. and ultimately I think that whether classicists like it or not, it’s just the nature of the beast that (a) the texts we study have been and continue to be radically readapted and reinterpreted and we can have strong opinions about which adaptations we like or don’t but it’s just the nature of a 2000+ year reception tradition to produce variance, and (b) the texts we study are much more a scholarly construction, and authorial intent far more difficult (and ideologically suspect) to try to recover, than is true of, say, a 19th or 20th century novel. which is to say that it’s one thing to say that Fennell’s Wuthering Heights misunderstands Charlotte Bronte’s novel and something quite different to say that Nolan’s Odyssey misunderstands “Homer’s” epic, because the latter is responding to another 2500 years of a reception tradition that in some sense is not entirely or even primarily about the Odyssey as a poem in Ancient Greek. this is not to take a stand on either one as an ideological project or whether either is a good film (I am reserving judgment but strongly suspect that neither is) but to say that I think that whatever the Odyssey is on a conceptual level is much less singular and well-defined than what Wuthering Heights is, if that makes sense
basically what I’m getting at here is that “Homer” or “the classical” is not a real, tangible, solid thing out there in the world that can only ever be correctly or incorrectly interpreted. it’s an ongoing process of cultural conversation and production and assignment of value judgments that operates across thousands of years of accreted meaning, and the impulse to see an adaptation or interpretation you don’t like for ideological or aesthetic reasons and immediately claim that it’s a misinterpretation of the Original Text is a kind of rhetorical dodge
whatever the hell these two got goin' on

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Urban sketching at Green-Wood cemetery in Brooklyn.
This was how I learned that Brooklyn has its own flock of feral parrots, which has occupied the spires of the gothic arch since the late 60s.