This was the first time she had been so close to him since he had returned to King’s Landing, leading the vanguard of his father’s host. For a moment she did not know what to say. “Ser Loras,” she finally managed, “you… you look so lovely.”
Natalie Dormer pointed out to me last week that Margaery has a freedom many women lack because her family is run by a woman. Now Sansa’s been sucked into that dynamic.
Sophie Turner: Yeah, and it’s very refreshing to see Sansa kind of sucked into that as well, because all her life, really, she’s been surrounded by men. I mean, apart from her mother. Even Arya has this very boyish, tomboyish way about her. I think that’s partly the appeal of Olenna and Margaery – they’re so alike to Sansa in that way that she feels this connection with them, this bond with them. Because she’s such a strong individual female joining the ranks of Olenna and Margaery, both incredibly strong, it works. It’s a very powerful threesome, I feel.
I’m glad to hear you use the word “strong.” It’s probably kind of important to reclaim the concept of “strong female characters” from characters who can physically kick your ass to simply mean female characters who are strongly written.
Sophie Turner: I think the strong thing about Sansa is the fact that she doesn’t fight. Fighting alone can be seen as a very strong thing to do, but the fact that she doesn’t fight and she doesn’t strike back is probably her best trait. Having to resist the urge to fight back – which, you know, I’m sure she has – is in itself one of the best things about her. In that sense, she’s very strong, and she’s very strong-willed, and she has willpower. That’s very important in this world, because if someone had fought back they’d be dead. Because … Joffrey. [Laughs]
I’m emotional about the fact that sansa is not just making up stories for people, she’s making up happy stories for people—
because I love the idea of her going from story to storyteller, like she’s learning how to lie at the same time as she’s realizing that all her songs are lies, and so learning to be in control of the lies is the same as learning to control the story, her story. she defines her life with stories, but she’s only heard the wrong ones till now, so she didn’t know the rules, but she learns so fast and she adapts and the next step is to redefine herself, her role in the story, and then she can redefine the story itself, become the gamemaker, the storyteller, the songwriter, the one who changes the playing field, and she has so much compassion in her that she wants to write a story that will make people happy! just in that trivial game, she’s already starting to reshape the world for the better.
#my face @ sansa haters rn #whatchu even doin #the political game is predicated upon the rhythms of stories asshats #and the king’s court and all its occupants are just dancing on the strings of the narratives handed down to them #jaime lannister is three times this girl’s age and deludes himself to how much his life is ruled by the chivalric tenets of medieval life #whilst she #a prisoner of war; abandoned daughter of a ruined house; betrothed to an unrepentant megalomanic #can scrutinise her surroundings and see the edges where the story has started to fray #and don her courtly armour sans chink so no one can recognise what’s ticking beneath those porcelain doll features #(except for oh idk littlefinger and tyrion - two of the game’s most astute players - who see her as a powerhouse and a threat) #if clear-eyed perception in the middle of a war zone #and weaving a dance as intricate as the motherfucking adult most consummate players in the kingdom #isn’t bad-ass than i don’t know what is #sansa stark is the beating heart and strong centre of these books #don’t like her; that’s your prerogative #but if you think she’s THAT narratively irrelevant that she can be tossed aside then you need to back the fuck up #sansa stark is coming for the whole of your goddamn story fools