just a heads up. im gonna do a big curse soon
okay so honestly i wasn’t expecting they’d be able to hide the body for this long
LINDSEY GRAHAM ?

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just a heads up. im gonna do a big curse soon
okay so honestly i wasn’t expecting they’d be able to hide the body for this long
LINDSEY GRAHAM ?

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House of the Dragon + Reductress Headlines (21/?)
The Smiley Boy…
Was reading theon's first chapter in acok and this is how imagined him coming back to pyke… also it made me so sad how often characters point out his handsomeness and SMILES, it actually made me sad knowing what happens to him later… i like suffering. But anyway i always wanted to draw theon before “reek” and i love it! Dude is awful but ugh i love him
the iron islands are genuinely fucking comical to me all of you suck and you live on a useless pile of shite where you for some reason have democratic elections and you’ve never won a revolution or anything but you always think tonight’s the night
LIKE IM FUCKING LAUGHING WHO ARE YOU GUYS
sketches of stark siblings and some random squid

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The Greyjoys are another case where there’s something for everybody. you’ve got: 1) mean dad, 2) ghost mom (not yet dead), 3) an evil serial killer wizard pirate who takes evil wizard acid and should BY RIGHTS!! have an evil wizard electric guitar that shoots lightning or something but unfortunately there are no electric guitars in this book so he’s made do with an evil horn that kills you when you play it, 4) a meathead jock with exactly two brain cells ricocheting around his skull and every time they touch he gets cognitive dissonance so bad he kills someone, 5) former party guy NBA center, current stick-up-his-ass John the Baptist impersonator, pirate edition! 6) the ghosts of many brothers, 7) the coolest woman on earth is forced to grapple with misogyny YET AGAIN, and 8) the annoying tenor from your university choir that always shows off his watch and his shoes and asks rage-bait questions in your econ class and who got kidnapped by your econ professor’s psycho son two weeks ago but no one has asked after him yet because you’re all just kind of relieved at the thought that he’s dropped out.
one of my favorite scenes in the entirety of asoiaf is the one where ramsay bolton’s dad is riding through the forest with theon giving casual long winded exposition about Why Ramsay’s Like That while theon sits there eyes bloodshot down several limbs shaking like a dog silently stewing in his own limitless agony and despite this every few minutes he has to be like mhm. uh huh. wow roose that’s craaaazy dude haha
There’s a recurring motif throughout the books where an innocent man, woman or (really most often) child of low birth, with no other connections to the games of the noble houses, is passed off as a highborn lord or lady and then harmed and usually even killed in their place. This happens to the miller’s boys who Theon kills and presents as Bran and Rickon, to Penny’s brother and the many other dwarves whose corpses were presented to Cersei as Tyrion, to Gilly’s baby who is switched for Mance’s son, and the list goes on and on. In the series, it functions as a very poignant metaphor for how the fighting between the lords of Westeros ends up causing more damage and suffering for the smallfolk than it ever really does for those directly involved, those who actually are responsible.
However, there are two instances where this motif is inverted: when Theon saves Jeyne Poole and when Brienne saves the children at the Inn at the Crossroads. In ADWD, Jeyne is made to pose as Arya Stark and then forced to marry Ramsay Bolton so that he can use Arya’s claim to Winterfell. At the Inn at the Crossroads, Brienne first mistakes Gendry for Renly, but, notably, there’s also another little girl who she briefly thinks might actually be Arya. To me, it seems significant that in both cases the girl is mistaken for Arya, specifically. Moreover, the two events are even further linked, as in both instances it’s the color of the eyes that don’t match, referencing the highly important theme of learning to “see” through deceptions in Arya’s arc.
Usually, with this motif, the POV characters believe that the lives of these smallfolk people are worth less in the grand scheme of things compared to the highborns they are replacing. Often, we as the reader are tricked into believing this as well. We’re meant to be relieved when we learn that it wasn’t really Bran and Rickon who died, just two random boys we don’t even know. But when the motif is inverted, it directly challenges this notion. When Theon saves Jeyne, it signals that his road to redemption doesn’t start with making it up to the Starks, it starts with saving a girl from a situation so similar to that of the two lowborn boys he murdered. And when Brienne, after she’s spent the entirety of her arc in AFFC looking for Sansa and Arya, finally has her big, climactic hero moment, it’s not about saving the lost princesses, it’s about saving a group of innocent orphan smallfolk children because, in the end, they are worth just as much.
As I said, I doubt it’s a coincidence that both of these inversions are linked to Arya of all people. Firstly, it of course mirrors how she herself has spent most of the series posing as a lowborn child and experiencing the suffering of the smallfolk firsthand. But there’s also a lot of Arya’s story that’s signaling that she, in the future, likely will be taking on the role as a champion of sorts for the common people. And so I think it’s very fitting that she’s then also so closely connected to these events where the smallfolk, for once, are protected.
my favorite thing about theon greyjoy (books) is that he’s a fucking asshole. even after getting uber tortured for years and losing his identity and just generally being subjected to the worst shit ever, his inner monologue is still so bitchy. all that shit didn’t make him a better person it just made him quieter. he is really still out here talking like that in his head. okay theon. okay girl i see you
What have you done? The voice of your brother's blood is crying out to me from the ground.
ASOIAF + Genesis 4:10

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What’s so compelling about Catelyn is that she breaks the fantasy-mother archetype. She’s not the soft, universal nurturer people project onto her she’s a political mother, a practical mother, a mother whose love has limits and borders, shaped by trauma, duty, loyalty, and rage. And GRRM lets her be that without punishing her for it or dressing it up as something gentle.
She doesn’t mother Theon either. Theon is a political hostage and a warning banner for Winterfell’s survival. She owes him nothing but courtesy, and that’s all she gives.
She doesn’t mother Jon, because Jon is a visible wound he is the symbol of Ned’s betrayal as she understands it, the reminder she has to live with every day. She tries to be civil, to be dutiful, but she refuses to lie to herself about her feelings, and that’s part of what makes her so real. She doesn’t collapse into the fantasy of “love the innocent child,” because the situation wasn’t innocent for her.
Even with Brienne one of the most emotionally loaded bonds she forms Catelyn meets her as an equal in grief and loyalty, not as a daughter. Their connection is built on shared losses, shared promises, shared steel. It’s intimate, but not maternal; it’s two women trying to survive in a man-shaped world.
Catelyn is a mother, yes but she is never a symbol. She is not a saint. She is not a vessel of unconditional love. She loves her children fiercely, violently, protectively, and that intensity doesn’t spill onto others simply because they are young or vulnerable.
And strangely, that boundary that refusal to perform softness for the world makes her one of the most honest, human characters in the entire series.
Catelyn, Jon, and Theon are three people who fundamentally do not belong in the same emotional universe. Catelyn resents Jon as a living wound. Jon resents Catelyn as a cold, unreachable authority. Theon resents everyone because his entire identity is built on not being wanted anywhere. There is no warmth there, no found-family softness, no secret understanding. It’s all tension, distance, and unsaid things.
And yet: Robb.
Robb is the one place where all their fractures point in the same direction. Catelyn would die for Robb because he is the embodiment of everything she did “right” the son who is lawful, loved, secure, unquestioned. He is proof that her sacrifices meant something.
Jon would die for Robb because Robb never made him feel lesser. He didn’t need to. Robb loved him without hierarchy, without condition, without politics. Robb is the brother who never asked Jon to apologize for existing.
And Theon would die for Robb because Robb is the only person who ever treated him like he belonged without needing him to perform. Not a hostage, not a pet, not a rival just a brother-in-arms. Robb’s trust is the purest thing Theon ever had, and losing it destroys him.
What makes this so brutal is that Robb doesn’t even know how much weight he’s carrying. He’s the emotional load-bearing wall for three people who cannot coexist otherwise. He is the axis that keeps the household from flying apart. Once he’s gone, the entire structure collapses immediately and catastrophically.
And GRRM is cruel enough to let us see that this loyalty doesn’t fix anything.
Catelyn’s love for Robb doesn’t make her kinder to Jon. Jon’s love for Robb doesn’t save him. Theon’s love for Robb doesn’t redeem him. It just proves that even deeply damaged, mutually resentful people can still agree on one thing: this boy matters.
Which makes the Red Wedding not just a political massacre, but an emotional extinction event. When Robb dies, it’s not just a king falling. It’s the last shared truth between three people who never had anything else in common. And none of them recover from it. Not really.
The Fool - Theon Greyjoy
Upright meaning: Beginnings, innocence, spontaneity, a free spirit
Reversed: Recklessness, risk-taking, poor judgment, holding back
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Jeyne, Jeyne, it rhymes with pain.
Jeyne Poole chosen by my patrons 🗡️ see the full res version

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Post-ASOIAF headcanon: Theon teaches Jeyne Poole archery
Theon / a bit of reek