Morgana

Young lord duncan stark of winterfell 🐺🗡️

"A queen must listen to all," she reminded him. "The highborn and the low, the strong and the weak, the noble and the venal. One voice may speak you false, but in many there is always truth to be found." - Dany

SILVER SPRINGS Fleetwood Mac — The Dance (1997)

By 1997, Stevie Nicks and Lindsey Buckingham’s romance should have been ancient history. The pair had split two decades prior, fueling Rumours’ famously raw breakup anthems. But during a taping of a Fleetwood Mac reunion show later released as The Dance, shit once again got very real. Midway through a non-album rarity called “Silver Springs,” Nicks turned and faced her former flame as she sang the song’s rueful bridge: “Time cast a spell on you, but you won’t forget me / I know I could have loved you but you would not let me.” The pair locked eyes, and Nicks gradually built to a cathartic howl — “I’ll follow you down ‘til the sound of my voice will haunt you / You’ll never get away from the sound of the woman that loves you” — indicating that, for her at least, resolution had never really come.

This was by design. Nicks has admitted that the fiery take on the song that appears in The Dance was “for posterity,” as she told Rolling Stone at the time. “I wanted people to stand back and really watch and understand what [the relationship with Lindsey] was,” she later told Arizona Republic.

The track’s primary exposure was as a B side to “Go Your Own Way” — Buckingham’s own expression of anger and revenge against Nicks, where he claimed that “packin’ up, shackin’ up is all you wanna do.” The song would become one of the band’s biggest hits, charting in the Top 10. “He knew it wasn’t true. It was just an angry thing that he said,” Nicks told Rolling Stone in 1997 of the “packin’ up, shackin’ up” line. “Every time those words would come onstage, I wanted to go over and kill him. He knew it. He really pushed my buttons through that. It was like, ‘I’ll make you suffer for leaving me.’ And I did.”

Of course, Nicks had the exact same motivation when she wrote “Silver Springs.” In a 1997 interview with Arizona Republic, she explained the song’s message as “I’m so angry with you. You will listen to me on the radio for the rest of your life, and it will bug you. I hope it bugs you.”

Eh eh, the demons have been awakened!

Well, I don't trust Twitter because the do not read their own books, so since us European girlies can't see the show for now, I waited for a video review from someone who actually went to see it. And indeed, those who have seen the show have better opinions than those who have only read the script. So far, the things that are confirmed are:

Elia and Rhaegar are in a marriage of duty and there is no emotional involvement whatsoever,

Lyanna is a greenseer along the same lines as Bran,

Robert is in deep mourning for his parents' deaths,

Rhealla essentially evoked Dany's birth as her avenger, and Dany appeared in the background during the "His Is the Song of Ice and Fire" moment in R&E.

As we all suspected, Lyanna and Rhaegar fell in love following the Smiling Knight's story,

Elia and Ashara are a couple/duo, and Ashara has a rather troubled love life in general,

Ned and Cat were kinda "falling in love" even before Robb was born,

The play ends with the words "Jon Snow" following his birth. Twitter hyped it up, saying "ahhh, they're saying R+L were in love to throw mud at Elia," but in reality, those who have seen the show say it's a more complex situation.

Overall, I think the show should be seen, because otherwise it's like commenting on fry air. The framing and the medium are integral to a work's message, so hypothetically the show could be a 1:1 copy of the lore and still suck, or distort it and still be a high-quality drama. However, I want to give my two cents on the controversy it sparked.

First of all, the Asoiaf fandom needs to come to terms with this: the portrayal of the Dornish will always be a bit strange, because the source material is orientalist. So the best you can do is give its characters complexity to make them fully rounded people. HOTD has shown what happens when you don't give depth to your PoC characters.

Then, I think those who complain about mischaracterizations need to calm down: the only characters in this play we really know from the books are Cat, Ned, Jon Con, and Robert. Everything else is introduced to us here for the first time, so complaining about mischaracterizations is only possible to a certain extent.

Third: Do people remember that Asoiaf is a fantasy where the prophecies are true? That Daenerys' dragons are there because the blood rituals exist, that Renly was killed by a shadow, and that there are Zombie Polarets at the wall?! Because I find it absurd that just because Lyanna has a power that the fucking protagonists of the original series have, they say they ruined the character by making her a religious fanatic? I've already written this once, but the Asoiaf fandom needs to read some Greek tragedy because I think they don't quite understand this narrative style.

My question is: What did people expect? Many say they stripped the women of Asoiaf of their victim status because "they did this bad thing," without realizing that's an incredibly sexist thing to say! A victim is a victim, regardless of their flaws!

Did they want the Targaryens to be evil? If it's so, I'd like to remind Martel fans that THEY are the main makers of the Targaryens getting back on the thrones! I get that they hate Daenerys but,C'MON.

Many have already said that this behavior is caused by anger at no longer having their own Canvas in the story. But I also think this behavior is usually triggered by a refusal to accept that the author of a story, no matter how progressive, has his own biases.

Medieval ladies in medieval literature: