r/HOTDBlacks

Btw, for those who don’t know what green ideology entails, it’s the very ideology that ensured that no woman would ever sit the iron throne, ideology that literally pushed women away from the iron throne. They see this as a win. Go figure

Btw, talking about Team Green fans. Not the Greens itself

Really be making up stuff 😭

The way some people turn it into "b-b-b but Rapegon didn't want to marry her! He's a victim toooooooo! 🥹" makes me puke. It's sick.

First of all, when Rapegon doesn't want to do something, he doesn't do it. He didn't want to study or behave himself, or stop raping women and he doesn't. The very idea that the *only* duty he does is the duty to rape his sister, and he refused to do every other "duty", should make brain work and draw the right conclusion: he despised her, but she suited him for sex.

He doesn't suffer from it at all, he's having "harmless fun" with her. This is not "doomed brother and sister" dynamic, this is abuse and Helaina is victim of her husband.

Secondly, it's obvious that he rapes her long after the wedding and after having two heirs, in fact she's pregnant with Maelor in season 3.

No amount of mental gymnastics will justify what he's doing. Not like he's the only man who rapes his wife, but he's definitely the only one who has a fanbase with the idea of making him a victim in a situation where he's absolutely not.

When Game of Thrones ended with Daenerys Targaryen’s death at the hand of her lover/nephew Jon Snow, fans felt a blow — both literally and figuratively — but thankfully prequel House of the Dragon picked up the series’ mantle in chronicling House Targaryen’s reign. Now in its second season, House of the Dragon continues to underscore the tragic and power-hungry themes of George R.R. Martin’s novel Fire & Blood. Kicking off with Game of Thrones, House of the Dragon is rich with fantastical and history-inspired lore which has drawn from Spartan, Byzantine and Medieval European cultures – producing a great world-building challenge. To bring that story to life visually, costume design remains one of the key pieces and season two is no different.

“I like costumes to feel like clothes and not costumes that the actors have to wear when they become the characters,” explained McCall. “So I started looking at ancient civilizations, medieval dress and how the clothes could be constructed so that everything felt real in the time period.”

For season two, Caroline McCall stepped in to lead costume design. Her resume is prestigious, including work on Downton Abbey, His Dark Materials and more. Coming into the GOT/HOT D universe completely fresh — she notes that she hadn’t watched the series at all when the role was offered to her — there was a lot of catching up to do in the 20 weeks of prep work before production/filming began. But that’s where a lot of the magic kicked off.

During that period, McCall dove into a months-long research practice. From reading parts of the book, watching the show and investigating cultured design elements, McCall’s approach was not a mere selection of color-themed styles, but a full curation of historically-influenced designs. McCall’s research took her to places like the British Museum where she explored Roman, Ancient Greek, Babylonian and Mesopotamian cultures. It wasn’t just to look at the styles present at the times, but also to discover what existed technology-wise in those bygone eras. “I like costumes to feel like clothes and not costumes that the actors have to wear when they become the characters,” explained McCall. “So I started looking at ancient civilizations, medieval dress and how the clothes could be constructed so that everything felt real in the time period.”

After researching, McCall began separating pieces and style aesthetics for the show’s numerous “houses.” For example, the Blackwoods, a house that supported the Blacks of Rhaenyra Targaryen, tunics feature Celtic-inspired brooches while also borrowing from Viking and Roman styles. Given the Targaryen’s peaceful rule and assimilation into Westerosi society in season one, they harbored a more European/Medieval style. But given the Targaryen’s move to Dragonstone and becoming the Blacks (a political group that supported Rhaenryra Targaryen’s claim as heir to the Iron Throne) while the Hightower family remained in King’s Landing and became the Greens (a political group that supported Queen Alicent Hightower and her half-brother, Aegeon II Targaryen’s claim to the Iron Throne), McCall strives to separate the silhouettes to create an aura of the true Tarfaryens, in which she also took inspiration from the famed last surviving house member, Daenerys Targaryen.

In evolving their image, the embroidery and jewelry style for the Targaryens becomes more simplistic and brutalist than the finer jewelry that is found in King’s Landing. Where King’s Landing heralds hues of green and gold, Dragonstone digs into black, gray and red, while the Valerians revel in blue. Each place and family offered McCall not just new colors, but stylistic themes to play with. In tandem with creation, McCall’s biggest task is believability. Aside from being visually stunning, the pieces must represent the changes, environments and lifestyles the characters exist within. For example, Princess Rhaenys is a frequent dragon rider, so her outfits have to be appropriate for the activity via armor-like outfits with structured and reinforced details. On the other hand, Rhaenyra begins the season with a similar style as season 1, but as she grows to assert herself, her silhouette becomes more unequivocally Targaryen with stronger shoulder details at play. The same attention to storytelling through wardrobe extends even to Alicent Hightower who’s seldom able to leave the Red Keep. Through her dresses, the costume department can tell a story of her being trapped by her own bad decisions.

“It’s a gritty real world that happens to have dragons and we try to say in something that feels realistic, grubby, dirty and broken down so that it doesn’t feel too fantasy,” said McCall. “The fantasy element is the dragons but even they’ve been designed to be believable.”

McCall was not alone in executing such a giant task. Even though the designer functions as the lead for the costume direction, the department as a whole entailed 150 artisans that spanned teams of metal workers, embroiderers, leather workers, military assistants, textile artists and more. The costume department’s practices went beyond just sourcing fabrics and creating looks. Whether it be textile artists dying and printing fabrics or armory members crafting weapons props, all of the teams worked harmoniously to bring the vision together. Additionally, the department tried to use natural fabrics as much as possible, while ensuring that the crafted styles existed within the time and activity. Out of the many new creations, a special product by the department was “scaled fabric,” which was actually a printed effect on velvet devore to look like scales – making printed fabrics and crafting their own designs a core tactic for building the season.

From a design perspective, McCall had the ability to maneuver House of the Dragon’s second season in whichever direction she saw fit. But what’s spotlighted in each new episode on Sunday is McCall’s strength in expanded cognizant design. It’s easy to go off the rails with fantasy shows, but McCall understands that danger – instead exhibiting a design style that’s enticing, visually captivating and most importantly, realistic, at least as much as you can be for a show with dragons.

“The design was about thinking logically all the time and make rules for yourself,” she says.“With fantasy, you can think, ‘Oh I can do anything.’ But if you do ‘anything’, it’s a big mess. You need to create your own logic and reasoning.”

Harwin’s hot enough to entice both of them, no doubt, and help them in their marital duties. I refuse to believe polycule was not a thing in asoiaf

Ser Criston Cole: No songs to bare

Otto Hightower: Lost his head, scheming for a chair

Rhaenyra Targaryen: The Kings chosen heir

Aemond Targaryen: half empty of stare

(“Aenys was weak and Maegor was cruel, and Aegon II was grasping, but no king (Aegon IV) before or after would practice so much willful misrule.”)

Rhaenyra was the heir, not Laenor (and in Cersei's case, Robert was the king, she was the consort AND Robert did not know that his heirs were illegitimate, unlike Laenor, who knew and legally accepted them)

Rhaenyra's children had legitimacy through her, not her consort

idk why people compare, these were two different matters

Just reread the book. I just Cant! the greens are just vile, imagine doing this to your husband and father. who deserves a proper funeral. not to mention a KING!

Why do that isnt Aegon Legit? why so afraid to let the realm know?

cowards and murderes and thieves.