Tag Archives: emilia clarke

Television Tuesday :: a devil’s bargain?

25 Jul

Spoilers for Game of Thrones weeks one and two ahead.

You guys, I really want to maintain my passion for this canon. I’m sure you know that. For the most part the first two episodes have been perfectly fine! Sure there’s been a fair bit of “yes, but…”

  • Jon (Kit Harington) and Sansa (Sophie Turner) coexist and have some modicum of mutual respect for each other, and he gave her leadership credentials while he was away on business, but also they disagree openly and at least once per episode and the potential conflict between them is a major talking point of what’s to come.
  • Sansa and Jon have both essentially told Littlefinger (Aidan Gillen) to bugger off, but he still hasn’t.
  • Brienne (Gwendoline Christie) is there, supporting the hell out of Sansa, but she hasn’t actually done all that much (nor have the circumstances of Brienne’s last scene in s6 been discussed, which isn’t that big of a deal but should probably happen at some point in some context).
  • Lyanna (Bella Ramsey) has been kicking everyone’s asses verbally, but I really want to see her take up arms dammit.
  • Arya (Maisie Williams) had a very nice moment with some Lannister-military randoms, but one of them was Ed Sheeran and I am opposed to that on principle.
  • Arya also ran into her direwolf Nymeria, but Nymeria is a damn wolf and wanted to stay in the Riverlands doing wolf stuff. Arya understood this, but it was still sad.
  • Daenerys (Emilia Clarke) has people around her and that’s really cool, but nobody seems to be 100% on the same page of how to handle things.
  • Grey Worm (Jacob Anderson) and Missandei (Nathalie Emmanuel) had an absolutely beautiful love scene that was honestly revolutionary and I’m kind of shocked it even happened because it was so beautiful and also given the particulars it was not really like love scenes on anything, but now I’m worried about both of them because of it.
  • Euron (Pilou Asbaek) is more like he is in the books, but that means he’s actually the worst terrible curse word and has already done things that rank him with being as heinous as Ramsey Bolton. Things that are so heinous I didn’t even watch them, just read about them because I am bloody furious. Expect, by season’s end, an essay on the mishandling of my Dornish babes. Because Anger is happening.
  • We’ve finally seen the alliance between Dany, Yara (Gemma Whelan), Ellaria (Indira Varma), and Olenna (Diana Rigg), and while contentious in part (as mentioned above) it’s a bunch of badass ladies being badass, but we’re only two episodes in and everything has already gone to hell for them.
  • Yara and Ellaria kissed, but now they are both at assface Euron’s mercy.
  • Obara (Keisha Castle-Hughes), Nymeria (Jessica Henwick), and Tyene (Rosabell Laurenti Sellers) had an actual scene with lines and conversation and sister banter and the actresses have such a good dynamic with each other even though I wish they’d get to show the non-banter aspect of their sisterhood too, but Obara and Nym are now dead and Tyene is also at assface’s mercy. Did I mention how mad I am?

It’s a devil’s bargain. You get some things and have to give up others. You’re so happy about beautiful things but then Euron exists. Etcetera.

–your fangirl heroine.

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Fashion Friday :: my queen likes girls.

4 Nov

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This is the dress  we made me for Halloween this year and we chose this dress for two reasons: one, this is the dress Dany (Emilia Clarke) was wearing when she broke up with Daario (Michiel Huisman) and I like wearing “fuck you men” dresses, and two, this is the dress she was wearing when she totally hit on Yara (Gemma Whelan). The first is important, but the second is the most important.

Also, this dress in its original reminds me of Asgard.

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This is not Asgardian, and the styling is totally different, but it strikes me as just having a good vibe. Also I like that it doesn’t look pure black, because this dress isn’t, technically. Reception Reaction Dress, ModCloth.

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Sure. Silk Charmeuse Medium Sash, L.Erickson at Nordstrom.

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These are weird but I like them. And Dany wears boots always. A Ton of Kicks Boots, ModCloth.

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Dany also wears leggings always. And this dress is semi-transparent so it’s kind of important. Skirt With the Idea Leggings, ModCloth.

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Do whatever you want with all of these. Stackable Rings, BP at Nordstrom.

–your fangirl heroine.

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Television Tuesday :: a season 6 wrap-up.

5 Jul

Game of Thrones‘ season six was… well, it was pretty all right. I mourn my sweet gay babies Margaery (Natalie Dormer) and Loras (Finn Jones), bless them, but overall I am not disappointed and after last year’s mess that’s something, anyway? The requisite list of positives.

11. Davos (Liam Cunningham) finding out about Shireen (Kerry Ingram).
As y’all know, Shireen being murdered was my least favorite thing to happen in season five, and that’s saying quite a lot. So I guess it was a form of catharsis to see Davos finally find out what happened to his favorite girl and get really, truly mad about it. (I also liked that when Jon [Kit Harington] found out he didn’t have Melisandre [Carice van Houten] killed immediately but instead sent her on her way with a warning.)

10. Lyanna freaking Mormont (Bella Ramsey).
What a brilliant, scene-stealing kid. I had never seen her before in my life but my reaction after her first scene was “I’m so proud of her!” Boy howdy I love Mormont women just about as much as I don’t give a damn about the most prominent Mormont man.

9. Sam (John Bradley) and Gilly (Hannah Murray).
I actually quite liked the Horn Hill scenes, just overall; I liked how nice Sam’s mom and sister were, I liked how awkward Gilly was changing her clothes for the first time ever, I liked how Sam and Gilly both stood up to Sam’s jerk dad, I like how the power of love prevailed. And I really liked the Citadel library, sidenote.

8. Missandei (Nathalie Emmanuel) and Grey Worm (Jacob Anderson).
I just really like these two. I was not a big fan of all of the treading water that Tyrion (Peter Dinklage) had to do or how pointless most of his scenes felt, and in turn many of Missandei and Grey Worm’s, but Missandei and Grey Worm themselves are always wonderful. I really like how Missandei had no time for Tyrion’s bullshit plans and made no secret of that. I really like how the two of them spent most of the season dressed like dominatrixes/the male version thereof. I also really like that Missandei always calls him by his name in Valryian. That makes me smile a lot.

7. The Dornish matriarchy overhaul.
We had a beautiful moment with Ellaria queen (Indira Varma) and the Sand Snakes (Keisha Castle-Hughes, Jessica Henwick, Rosabell Laurenti Sellers) in the first episode, one cursory mention around 6.03 or 6.04 of the fact that they’d taken over Dorne, and then treaty negotiations with Olenna (Diana Rigg) in the finale. We didn’t see much of this matriarchy overhaul, but I support it fully. This puts me in the minority and I don’t give a single damn.

6. Sansa (Sophie Turner) and Jon.
Sansa and Jon really didn’t have a relationship before they went their separate ways in season one, but their reuniting was beautiful and their relationship development has been fascinating. The obvious thing to say is that it’s an indicator of Sansa’s increased maturity; it’s also giving her a chance to finally be volatile in productive-to-the-plot ways. Fucking Littlefinger (Aidan Gillen) is not looking to make this a happy ending, but it’s really interesting right now.

5. Sansa and Brienne (Gwendoline Christie).
Yes. This did not disappoint, Brienne’s loyalty is overwhelming, and I’m glad they at least still have each other.

4. Sansa and misandry.
One of the most brilliant moments this entire season was just Sansa’s facial reactions to Ramsay (Iwan Rheon) being killed by his dogs. Another thing I liked was when she yelled at Jon for not involving her in battle plans even though she knew about Ramsay more than any of them did. I also really liked her reaction to fucking Littlefinger’s completely unsurprising but nasty fantasy scenario: hand on the chest for stop, don’t touch me there, then “it’s a pretty picture” dripping disdain as she walked away. Sansa Stark is done with men and it’s beautiful.

3. Feast for Crows Cersei (Lena Headey).
Otherwise known as: I have been waiting for the Cersei I know from her POV chapters to finally get to show up and that Cersei is insane. Unfortunately, Benioff and Weiss seem too concerned with making the Lannisters sympathetic at times to allow them to be as interesting as in the books, so it was a long time coming for the full reveal. But now, after doing some horrible things and having some horrible things happen as a consequence, the Iron Throne is sat by completely bonkers Cersei, Darth Cersei, Mad Queen Cersei. I’m thrilled and Lena is going to do a great job.

2. The Targaryen-Greyjoy-Martell-Tyrell alliance.
I mean, I’m not keen on the fact that it had to come partially because of Margaery and Loras’ death, but “so Yara goes to Meereen, right, and she hooks up with Dany, and then Varys goes to get the Martells in on it because they have a thing with the Targaryens, and then the Tyrells come too because they’re awesome” sounds… not unlike some of my personal ideal scenarios. The show has less lady-kissing in this alliance (because Margaery is dead now and never confirmed queer, because they haven’t mentioned Nym being bisexual in the show yet, etc.) but it’s still happening.

1. Dany (Emilia Clarke) and Asha-Yara (Gemma Whelan).
But there might be lady-kissing here! It’s now canon that Asha-Yara likes girls (and she didn’t die!) and both actresses have mentioned that there is some definite flirtation going on between these two. They bantered about why Dany should accept these Greyjoys’ offer of ships and alliance, which is because Euron’s offer would come with marriage demands. “And I imagine your offer is free of any marriage demands?” Dany banters. “I never demand, but I’m up for anything really,” Asha-Yara declares, in a conversation that does sound just as Sapphic as my fantasy endings. I don’t know how this is going to go but dear gods let it go right. Because, quoth poor lost Doreah, “love comes in at the eyes,” and those two were making significant eyes at each other. (Also, Dany broke up with Daario [Michiel Huisman] spectacularly.)

–your fangirl heroine.

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Television Tuesday :: my Westerosi dumpster isn’t on fire yet

3 May

So I came into season six of Game of Thrones pretty much like “well, I’m stuck here.”  Because, in a way, I am.  This show has done so many things that would make me ragequit another show (Sansa and Shireen last season being among them) but, because of my furious passion for the women and because it’s a thing I do With People and because I’ve committed to much of my energy and honestly my love to it, I can’t do that.

I’m here.

I’m going to grit my teeth and suffer for the small moments of beauty.  Here are a few from the first two episodes.

5. The explanation that no man can lay with a dead Khal’s wife.
This is literally the lowest freaking bar possibly set.  But considering that uh, this show and also Khals as a rule have a whole lot of rape, I was afraid that the Dany (Emilia Clarke) storyline this season would devolve into rape.  At least it (probably) won’t, given this canonical rule.

4. Dolorus Edd (Ben Crompton).
I love badass Eeyore.  That is all.

3. Asha-Yara (Gemma Whelan).
No, you guys, I don’t think you have any idea how excited I am about what’s to come with her (hopefully).  On two fronts.  And I’ve missed her.

2. Sand Snakes.
So my mom is on a message board, which led her to the conclusion that we are about the only people who’ve read the books who liked the bloody coup de grace that Ellaria (Indira Varma), Tyene (Rosabell Laurenti Sellers), Nymeria (Jessica Henwick), and Obara (Keisha Castle-Hughes) pulled.  Then again, she used to lurk on a different message board, where we were the only ones who cared about Dorne at all.  I keep telling her there’s a really easy way to explain this.   Apparently it’s “not like the books” well, at this point the show isn’t. Apparently (according to my dad) they’re all evil because they murdered their uncle and that sweet little girl (I am still sad about Myrcella, but y’know) and that nice young man.  They kinslayed, therefore they “have it coming.”  My dad also thinks that Oberyn dying was his own fault and apparently doesn’t remember that the Lannisters were (as Ellaria explicitly pointed out?) responsible for the rape and murder of Oberyn and Doran’s sister, not to mention the deaths of said sister’s children.  I don’t think that the Sand Snakes are evil.  I think they got fed up with the fact that the person in charge was out of touch, wasn’t doing anything to seek rightful justice for his family, was just going to sit back and do nothing in general, and they took matters into their own hands in a way that was extreme but also my mom and I couldn’t stop grinning because oh my god and also (in my case) fuck the patriarchy a little bit.  Also, I just love them and they’re beautiful.

I haven’t talked to my dad about episode two yet, but he sure didn’t walk into the room tonight when he got home from the gym and interrupt my mother’s and my conversation to tell us firmly that a certain Iron Islander kinslayer was evil and had it coming.  Just saying.

1. Sansa (Sophie Turner) and Brienne (Gwendoline Christie).
This scene was so beautiful my mom cried.  This scene was so beautiful I made drift partner go find me gifs of it (because I’m afraid to go into GOT tags on tumblr).  This scene made me so happy.

–your fangirl heroine.

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Sarcastic Saturday :: the Carol Paradigm

6 Feb

Many critics, and heterosexual audience members, have had an interesting reaction to Carol. For them, though they can acknowledge it as beautifully shot and made, the love story has failed to connect on an emotional level. They write things like “Carol” is a perfect example of audiovisual beauty with emotional atrophy,” “it fails to stir the heart,” “I was expecting a much more powerful love story.” Meanwhile, queer women (and other people who understand what the film was going for) are hailing this as possibly the greatest lesbian film of all time, due to its quality of filmmaking as well as the chemistry between leads Cate Blanchett and Rooney Mara. David Sims wrote a piece entitled “Why Carol is Misunderstood,” which attempts to explain why it has fallen so flat with mainstream audiences. We’d like to expand on those ideas, and incorporate some analysis of fandom and media tropes as well as societal expectations that feed into this.

This, simply put and as per the title, is the Carol Paradigm.

I will bring you back to the greatest thing that B&W invented (which is part of what makes that they ruined it especially horrid) and that is my ever-adored Dany/Doreah scene.  Because when we started thinking about the Carol Paradigm, I kept thinking “love comes in at the eyes, love comes in at the eyes.”  I thought it watching the movie at least twenty times.  And it occurred to me how breathtakingly true it is and how breathtakingly relevant it is to the (queer) female gaze. In the scene, Doreah (Roxanne McKee) is teaching Dany (Emilia Clarke) about the pleasures of the flesh and the heart, and it is neither a coincidence that she says this in regards to Dany’s relationship with… a guy who is not at the beginning good to her and also is not particularly demonstrative nor that she says this with the deep implication of a bond between the two of them as women and also proverbial gal pals.  And it is not a coincidence that it’s Doreah who says this, Doreah who has been trained in the art of “love,” who has endured much but had to find her happiness how and when she can, if she can.

“Love comes in at the eyes,” she tells Dany, meaning that as women perhaps it is expected of them to be able to divine great romantic meaning where there cannot be words.  And in its truest form, this is the Carol Paradigm: an exchange of love shared between women, a secret language of love, that is primarily composed of meaningful glances loaded with intention…

…but that often backfires.  In Dany’s case, she did eventually find love with Drogo (Jason Momoa), but it was hard-earned and the potentially coercive nature of it has been debated here there and everywhere.  Perhaps it could be argued that in the case of Carol the lesbian characters had tried to intuit love from the men in their lives, who presented what looked like love to them, but found it more truly with each other.

 

And perhaps a great deal of heterosexual relationships, both real and fictional, result from this attempt to intuit love from unsuitable people.  Consider also the fact that, tied to Doreah’s training in a sense, women are conditioned to think this way while men are not, at least to the same degree.  This secret language works from woman to woman because women are trained to think this way, but it’s often just like a language: a woman may try to use it with a man, assuming that they too are a human adept in recognizing facial cues, but it’s no more effective than someone attempting to speak Chinese to someone who only speaks Japanese, assuming that they will understand because kanji are shared between the languages.  At the very least, this seems to be responsible for many of the romanticized heterosexual relationships in popular fiction.

 

This conditioning also feeds into the ways that many people perceive fictional romantic relationships, whether they are canon or non-canon. Especially in fandom, there is a pervasive tendency to ship pairings that share several common traits: they are non-canon (or the canon shows them to be bad relationships); they are between a male character and a female character who are on opposing sides of the main conflict, nearly always with the male being an antagonist; and they involve either some kind of power differential or the male character being otherwise “stronger than” the female. Examples include Zuko/Katara in Avatar: The Last Airbender, Grant Ward/Skye in Agents of SHIELD, Jessica/Kilgrave in Jessica Jones, and Kylo Ren/Rey in Star Wars: The Force Awakens. Some of these are more or less inherently horrifying and abusive than others (Zutara, while being impossible to avoid and having some of the most entitled fans I have ever seen in my time in fandom, at least involves characters who do become close friends), but they all contain what could be called “Phantom of the Opera syndrome.” This is the tendency for fandom to be convinced that a tragic male antagonist could be redeemed if only the female protagonist would fix him with her love.

Of course, this doesn’t come out of nowhere – Phantom is possibly the most obvious example of the trope, but it’s an old romantic storyline, where a Bad Boy is changed through the love of a Good Woman. Literally hundreds of stories reinforce this idea, and the girls and women who tend toward being attracted to Bad Boys adopt this fantasy as well. Therefore, many shippers also find this idea romantic and gravitate towards the pairings that reflect that – which is how we get things like Zutara, Skyeward and Reylo. (Obligatory disclaimer that of course not all shippers of these ships do so for these reasons, but it’s a trend for a reason.)

The Carol Paradigm and love coming in at the eyes also manifests in fictional relationships in other ways.  Fandom and canon will bend over backwards to justify a heterosexual relationship that to some people, often women who understand love in the eyes, does not seem viable but neglect a queer relationship between women that is much more subtly loaded with, well, said love, even when the latter is canon.

A particularly egregious recent example is with Jurassic World, a flawed movie that I personally enjoyed certain elements of very much. One of the elements I did not enjoy was the romance between Chris Pratt and Bryce Dallas Howard’s characters, which took up way too much of the narrative and only makes sense if you go by Hollywood Relationship Logic. We are told they went on one date, and didn’t pursue the relationship further because of a personality conflict. Fine. But then the film proceeds to mistake constant arguing and arrogance for sexual tension (another problem with the way heterosexual romance is portrayed) and about halfway through, they kiss. The film ends with Pratt suggesting, “Maybe we should stick together,” and it’s supposed to be a happy ending because…now they’re together? Too bad they’re almost definitely going to break up in the next five years because they are fundamentally incompatible as people.

Honestly, a lot of the problems I have with the movie would be eliminated if they just left out the romance. Romance is great when it’s well-written, but all too often it’s not and it’s a distraction from the story. (I submit The Avengers and Kingsman: The Secret Service as top-tier action movies that have no romantic subplot besides established relationships.) It’s frustrating, because I can hear the execs saying “There has to be romance! Ladies, they like romance! And people expect if a man and a woman are working together they’ll fall in love!” But people won’t care if a film doesn’t have romance, and a badly-written romance can drag down a perfectly good film. Rachel Dawes from Batman Begins and The Dark Knight is one example of this – Batman doesn’t need a romantic subplot, but Nolan put one in there anyway, and I think it makes those movies significantly weaker (to say nothing of the fridging). Franchises also have a bad habit of holding onto previously established relationships in new films, even when showcasing that relationship would make no sense. In Pitch Perfect 2, Jesse (Skylar Astin) appears for about fifteen minutes just to remind the audience that Beca (Anna Kendrick) and Chloe (Brittany Snow) are definitely not going to kiss each other, even though that would make far more sense emotionally. But heterosexuality must be present.

The first Pitch Perfect has a perfectly serviceable heterosexual love story, although some people criticize it because Jesse’s persistence can be offputting and similar to a Nice Guy. But fandom at large is composed of people who see a far more compelling story in Beca and Chloe’s relationship – which is, point for point, also similar to a love story. Chloe takes Beca under her wing, pushes her into the Bellas, roots for her to the point of standing up to her best friend whose every order she used to follow, and generally acts like she wants nothing more than to push Beca up against a wall and make out with her. This behavior continues in the sequel, and is perhaps more exaggerated. And yet…if I were to point this out to people like my mother, they would be confused and maybe horrified at the implication. They can’t see it, because they’re not programmed to the way they’re programmed to see heterosexuality at every turn.

On television, a recent example of the Carol Paradigm comes to mind: Korra and Asami from The Legend of Korra. The series began with a standard heterosexual romantic subplot between Korra and a male character, Mako, but when Asami was introduced in episode four, a small group in the fandom jumped on board the good ship Korrasami. People mocked Korrasami shippers as delusional, since, they said, Nickelodeon would never allow a queer relationship in one of their shows. I watched the show in its first season, abandoned it somewhere around season 2, and didn’t expect to ever finish, abandoning my hopes for Korrasami as a pipe dream. Until, that is, the series finale of Korra, in which Korra and Asami walk off into the Spirit World for a vacation, gazing into each others’ eyes, in a scene that the creators insist would have included a kiss, if the network hadn’t vetoed it. Immediately, fandom exploded: celebratory fanart was created, reaction videos were uploaded to the internet (at least half of which involve joyful tears and screaming), and the people who shipped Makorra or other heterosexual pairings were left stunned and upset by the “sudden” turn in the story. Except if you’d been watching carefully, it hadn’t been sudden at all. The development is there; it’s subtle, sure, but there are quiet conversations and compliments, there’s mention of letters written while apart. Korra and Asami don’t have a lot of scenes together, but the ones they do have are full of affection and an underlying tension that leads to the aforementioned walking off into the metaphorical sunset together. Co-creator Bryan Konietzko says it best in this post: “If it seems out of the blue to you, I think a second viewing of the last two seasons would show that perhaps you were looking at it only through a hetero lens.”

All of this comes back to the Paradigm itself.  The notion that what some (mostly other queer women) view as very obvious clues (see also: Margaery giving Sansa the “friendship into love” rose, a lot of incidents of behavior between some combination of Daisy and Jemma and Bobbi, Bennett’s behavior toward Caroline, everything we’re always on about in Sailor Moon, everything we’re always on about ever at all) that suggest or could at least possibly lend themselves to a queer relationship between women is nigh invisible to many people who view, quoting the above, with “a hetero lens.”  That heteronormative thinking requires a relationship to be based in tropes and standardized behavior as well as in the fact that men and women clearly must have the sex but does not account for many of the nuances that queer people, in this case women, are accustomed to noticing and being fluent in.  And, although this is sometimes a good thing for safety reasons, this inability to read queer love in the eyes lady language sometimes even manifests itself in real life.

–your fangirl heroines.

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Fashion Friday :: I have too many feelings.

4 Dec

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I will defend Daenerys Targaryen (Emilia Clarke) with my dying breath.  This is not to say that I think she always makes the right choices, but she is my queen and she is learning and she is still the number one reason I stay with this damn show because I can honestly say I owe something of who I am today to the strength that she as a fictional character inspired in me and I needed her.  And I didn’t really need her meandering through B&W’s Tyrion-aggrandizing, Jorah-apologizing fanfiction sidequest when she should have been learning things from dear Ser Grandfather who is not supposed to be dead.  Also, to hell with Daario Naharis just because.  I dislike his face.

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So this was, despite my cosplay, a year mostly for maxi dresses.  This one is both a Westerosi halter (despite the fact that Dany’s weren’t strictly that most of the time) and has a cutout.  Also, I… kind of feel like the dressnamers were… getting at something.  With Style and Lace Dress, ModCloth.

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I’m not sure, I just like it. Once Upon a Thyme Coat in Almond, ModCloth.

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These are her fancy getting the hell out thank you boots.  Barnhouse Brunch Bootie in Pebble, ModCloth.

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This is so expensive but it’s spectacular.  Dragon necklace by martymagic on Etsy.

–your fangirl heroine.

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Television Tuesday :: 10 television gowns I adore

17 Nov

This is not a salty list.  This is just a predictable list of pretty ladies wearing pretty dresses.

10. Margaery’s (Natalie Dormer) first wedding dress

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I let my mom pick her very favorite Game of Thrones dress for this list and this is what she picked, and I tend to agree.  It’s spectacular.  The detail.  The fact that it doesn’t look like a single other thing that’s been worn on this show.

9. Dany’s (Emilia Clarke) Qartheen gown

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Gowns.  I mean, I love all of her stuff, obviously, but I’m going to give this gown a shoutout because I love the fabric and also I will never be able to wear it because of how it’s cut so I have to admire it from afar.

8. Salome’s (Valentina Cervi) death gown

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This dress is different from the other ones on the list because it’s almost minimal but it’s just so lovely.  Salome, I think at least three times a week about how fascinating you were.

7. Nora’s (Lucy Griffiths) Bridesmaid of Lilith dress

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I cannot, for some reason, find a picture of her wearing this dress that’s full-body in the Google Image search (and I know not to go too far on Nora-related searches because her upsetting death scene always comes up) but there’s the top of it and here’s the whole thing.  This is one of my favorite dresses in the history of dresses.

6. Tara’s (Amber Benson) Once More With Feeling costume

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I mean, Willow’s dress is nice too (as evidenced by my cosplay years ago) but I love Tara’s more.  It’s just so.  Ridiculous.

5. Inara’s (Morena Baccarin) “The Message” dress

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Inara has overall one of my favorite wardrobes of anyone on television, but this dress is my favorite favorite.  Probably because it’s corseted.

4, 3. Joanie’s (Kim Dickens) very similar entertaining gowns

Joanie has another one of my favorite wardrobes, but these dresses stand out.  Which is why it’s baffling to me that you cannot find a single image of them, either of them.  They’re the one in this scene and the black one exactly like it.

2. Dottie’s (Bridget Regan) fake identity gown

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It’s 1940s glamour at its best.

1. Peggy’s (Hayley Atwell) fake identity gown

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Also 1940s glamour at its best.

–your fangirl heroine.

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