House of The Blorbos

Hair - With the cold/wind in the Vale, hairstyles where the hair is pulled back from the face would probably be preferred. This is merged with the relative wealth in the Vale which can be showed off through hair nets and pearl accents, with long hair being shown off as an indicator of wealth - having maids to brush and take care of it, but still needing to be pulled back due to the weather.

Dresses - Swiss/The Alps influences. Rich and detailed fabrics to convey wealth, relatively structured with high or covered necklines. Capes are useful to guard against the wind and lots of fur lined cloaks (again wealth), of course there's a lot of blue for house Arryn, but other houses (e.g Royce) would favour others (browns and blacks) but in similar styles.

Dressing Westeros - The Vale

And it’s hands down the funniest frame in the ep.

Furthermore, Dany choosing to burn Mirri alive was a huge sign that something was wrong, especially since the show had already established that burning people alive was to be considered as an especially horrific way to kill people and a method of execution particularly associated with the tyranny of the Mad King. The fact that Dany decided to kill a slave in the same manner as her tyrant father should have been a huge red flag to the audience. 

Daenerys’ lie is taught to her by Viserys in her first scene of the show. That Westeros is her home and anything they do to get it back is justified, whether that is selling your sister for an army, or invading with blood thirsty savages.

Been playing with wiggly paint recently, and it just felt right to draw buggy (and a lil luffy too) !

falling to ageswap heeeellllllll

hama and sokka are both shown to be ruthless and creative strategists who think outside the box and are willing to do whatever it takes to achieve their ends, motivated by a great responsibility to protect their people. obviously hama is driven by “irrational” rage in a way sokka is not, but by the time we meet her in canon, she’s experienced such an unfathomable trauma that it’s unfair to assume that under different circumstances she would still be consumed by the desire for revenge. sokka also retreats into feelings of irrational guilt over rage, but i think in hama’s case, she probably is motivated in large part by her survivor’s guilt and the knowledge that she only freed herself too late to save her comrades, and feels that in avenging them, she is bringing justice to her people she could not save (im speculating here, but it feels textually coherent). i don’t think hama is ontologically evil, is what im saying. you could certainly read her that way, but personally i think that argument is pretty disrespectful to survivors of genocide, and i don’t think that’s what the show is suggesting either, even if some of the framing towards the end of “the puppetmaster” vilifies her in a way that presents her as explicitly monstrous.

as for kanna, she is literally and figuratively katara’s mirror. as yagoda says to katara, she’s “the spitting image of kanna.” it’s heavily implied that kanna grew more cynical and world-weary with age: the tragedies she experienced over the course of her long and traumatic life compounded until she became the thorn in katara’s side cruelly keeping her indoors to do her family’s laundry instead of letting her overbold, adventurous granddaughter explore the wide world, potentially getting herself killed in the process (what a nag!! how dare she!!). but she once was that overbold, adventurous girl who was brave enough to venture out into the world instead of adhering to the status quo. she was once a defiant, courageous, somewhat reckless teenage girl very much like her granddaughter.

I wish I knew how to clip a video— I felt so bad for him 😭