So Cute🥺🥺

Sophie's filmography

2011 - 2019 : Game of Thrones as Sansa Stark - Drama & Fantasy

2020 : Survive as Jane - Drama & Thriller

2020 : Home movie : The Princess Bride as Westley - Comedy & Fantasy

2022 : The Staircase as Margaret Rattlif - True Crime, Drama & Thriller

2022 : Story Bots : Answer Time as Lady Eleonore - Animation, Comedy & Family

2024 : Joan as Joan Hannington - Crime & Drama (post production)

2013 : Another Me as Fay - Teen Drama & Thriller

2013 : The Thirteenth Tale as Young Adeline/Vida - Drama & Mystery

2015 : Secret Agency as Heather - Comedy & Action

2016 : X-men : Apocalypse as Jean Grey - Superhero, action & Sci-Fi

2018 : Josie as Josie - Drama & Thriller

2018 : Time Freak as Debbie - Comedy & Romance

2019 : Dark Phoenix as Jean Grey - Superhero, action & Sci-Fi

2019 : Heavy as Madeline - Drama

2022 : Every Last Secret as Penelope - Drama & Thriller

2022 : Do revenge as Erica - Teen Comedy & Dark Comedy

2014 : Bastille - Oblivion

2019 : Sucker - Jonas Brothers

2020 : What a man gotta do - Jonas Brothers

2013 : ‘The Girl in the Mirror’ - Narrator (audiobook)

2014 : City of Heavenly Fire by Cassandra Clare - Narrator (audiobook)

2016 : The Night Before - Mr Burberry & QG

2016 : Powershift- Documentary

2017 : Game of Thrones Conquest and Rebellion as Sansa Stark

2019 : Our Journey connected - Louis Vuitton

The Dreadful as Anne - Gothic Horror (preproduction)

Trust - Thriller (post production)

All the pictures are edited by myself.

Can you recommend any fics where Sansa seduces Jon?

Hey Anon! Here are some fics I was able to find for you:

Crossing Flatlands To You by @maybetwice

A Stark in Winterfell  by orphan_account

One Night by MissEmmanuelle

Peace Talks by @myriddin

Battered and Bedchambers by @lunaplath

break me like a promise, All the Way to the Moon, and those who wait by @misshoneywheeler

Made New by kik283

(No Queen but the Queen in the North) Whose Name is Stark by @alienor-woods

Burst of Flame by telspica

Secrets of the North by iamthelordofwinterfell

Under the Table, A Little Stiff  and Maneater by Janina

(You’re Something Like) A Phenomena by rideswraptors

Don’t Tell Robb and In Case of Fire by Jade_Masquerade

Not How It Was Meant To Happen, Happy Birthday to Me  and Text Me by @lathwell55

In the Still of the Night by @manbunjon

Friday, I’m in Love by @tayl0crow

Wolves on the eve of battle by Lady3jane

I’m Not Sorry for That by Jeanettesc

Slut by angelwings80

the cold inside our bones by xylodemon

Tether, But You Are Not Your Own Land, and A Great and Gruesome Height by thefairfleming

ooh la, love by @obiwan-katnobi

A majority of these are rated E for obvious reasons! Enjoy :) ~Alys

Game of Thrones/House of the Dragon/ASOIAF - Love Triangle AU

Aemond x Sansa x Jon

Some thoughts on Sansa and Jon, by Tze

Sansa and Jon are, as far as I can tell, the only two Starks we never actually see interact in “present” time, and I don’t think that’s a coincidence from a literary standpoint. Everything we know of their past interactions comes via someone’s reminiscences, so each is present in the other’s life, but only in the past, never in the present. If Jon and Sansa meet in the future, it will doubtless come across to readers, in a very real way, as their very first meeting. Given the changes they’ve both undergone since their last meeting, that type of dynamic makes a certain amount of literary sense.

At the beginning of the series, Jon and Sansa seemed to sit at two opposite ends of the “Stark” children’s cultural spectrum: Sansa is viewed by other characters as the most culturally “southern” of the children, (and she did initially seem to value “southern” courtly culture more than Northern culture), while Jon is viewed as the most culturally “Northern” of the Starks because he does not associate with southern-based institutions. Sansa was the Stark child most heavily and explicitly associated with the Faith of the Seven (she was always with her septa and she’s the Stark child we see actually worshiping in the sept the most), while Jon was, at the beginning of the series, the most heavily associated with the Old Gods (given that he’s the only one of the children who does not keep the Faith at all, not to mention Ghost’s physical resemblance to a weirwood tree). Of the boys, Jon looks the most like Ned, while Sansa looks the most (out of the girls) like Catelyn—superficially, readers were encouraged, in the beginning, to associate Sansa and Jon with two different “regions”, one with the South and one with the North.

In AGOT, Sansa and Jon occupied two very different, inherently non-overlapping worlds, and each person’s understanding of how “the world” worked implicitly contained no real “place” for the other. By that I mean: Jon loved to fight, occupied a world in which fighting was the primary activity, and at the beginning had a great deal of difficulty interacting with people incapable of fighting. Look at his initial attitude toward Tyrion as well as the other Watch recruits, for example. Sansa is the one Stark child inherently incapable of fighting. She loved knitting, dancing, listening to singers, things that Jon had no use for—there was no room for Sansa in Jon’s “world”.

And Sansa’s “world” contained no real “place” for Jon. She believed that knighthood and its accompanying (southern) chivalric code were the celebrated foundations of the world, and interpreted everything she saw through that cultural lens. Sansa knew her “world of chivalry” clearly viewed a bastard like Jon with suspicion, and because of that, I think Sansa probably had difficulty holding what seemed like two contradictory notions in her head: on the one hand, Jon was her brother, raised along with her and someone she never seemed to have any open conflicts with (unlike Arya, for example), and on the other hand, as the occupier of a “place” (bastard) that her social code condemned.

Now, I think it’s worth noting that, although bastards have far lesser status in Westerosi society, there are “places” that can be carved out for them nonetheless, especially for paternally-acknowledged highborn bastards like Jon: we’re told that bastards have served in the Kingsguard, a bastard (Sam Stone) serves as Master-At-Arms for House Royce of Runestone, a bastard ends up on Cersei’s Small Council, at least one bastard served as Hand of the King, bastards freely join the Citadel and the Faith, etc., etc. But the issue with Jon is that Sansa, during AGOT, pretty clearly viewed knighthood as the central aspect of a man’s worth. To “properly” occupy an honored place in “Sansa’s world”, Jon would have to first be a knight—not just a fighter, but an actual anointed knight, with all of the accompanying chivalric duties and responsibilities. (Look at how she thinks about Jory vs. how she thinks of Alyn in AGOT for an illustration of this.) Jon clearly had the fighting ability to attain knighthood, but unlike the other Starks, he has never kept the Seven at all. Knighthood was never a real possibility for him, as it was for Robb/Bran/Rickon, and presumably Sansa recognized that. I think it was difficult for her, especially early on, to really find a positive place for Jon in her understanding of the world, because he obviously couldn’t be a septon, he couldn’t join the Citadel (she would have recognized Jon wasn’t exactly a bookworm), he was not in line for lordship, and he wasn’t going to be a knight … but deep down she loved him nonetheless. So what was he? Where did he fit? How could she believe that knighthood and chivalry were the cornerstones of her society while simultaneously having a relationship with her non-knight bastard brother? I think this is why Sansa was, in the beginning, so very, very keen on pointing out Jon’s exact relationship to her: her half-brother, a bastard. I think deep down Jon really confused her, and this was her way of repeatedly clarifying to herself exactly who Jon was, of seeking a measure of control over a relationship that must have confuzzled her greatly, because its very existence contradicted her understanding of how the world was supposed to work.

Because while Jon and Sansa seemed to have the most “distant” relationship of the Stark children, it’s pretty clear that Jon and Sansa did always love each other deep down. At the Wall, Jon mentioned that he missed Sansa. In ADWD, when he thinks of his lost siblings, right before he starts making plans to head to Winterfell, an image of Sansa brushing Lady’s coat and singing is included. And even in AGOT, though Sansa rarely thought about Jon, when he did enter her thoughts we saw her seem to subconsciously want Jon to occupy a “positive” position in her understanding of the world order. We know from Jon that Sansa tried to teach him how to talk to girls, and though he mentions that she always called him her “half”-brother, there’s no indication she tried to ignore or insult him, as other trueborn children might have done to a bastard. Her love for him was clearly not as “free” as Arya’s love for him was—Sansa’s world of chivalry and knighthood was a stumbling block to such a relationship, so it’s easy for readers to overlook that she did love him. But even in AGOT, look at her reaction to Yoren:

She had always imagined the Night’s Watch to be men like Uncle Benjen. In the songs, they were called the black knights of the Wall. But this man had been crookbacked and hideous, and he looked as though he might have lice. If this was what the Night’s Watch was truly like, she felt sorry for her bastard half brother, Jon.

It’s easy for readers to focus on her calling Jon her “bastard half brother” here, but if we look a little deeper, we notice how she also thinks to herself that the singers called the Watch “the black knights of the Wall”. This is important because we know what a huge premium Sansa was putting on the idea of knighthood. Though religion seemingly prevents Jon from attaining knighthood, Sansa seemed to subconsciously look for a loophole there, and found one in the songs: her beloved singers could “grant” Jon a sort of honorary knighthood as a member of the Watch, so that is the route her thoughts took.

(And here we also see that Jon and Sansa, though superficially incredibly divergent, actually did look at the world in somewhat similar ways: each believed in the stories and songs, in honor—just different stories and different methods of honor. Each believed Benjen Stark was the prototypical Watchman. Jon believed all Watchmen were true and honorable, Sansa believed all knights were true and honorable. They each had specific ideas about how a specific place was supposed to be (the Wall and the South), and each of them had those ideas dashed by reality.)

As ASOIAF has progressed, we’ve seen Jon and Sansa slip into each other’s roles, into each other’s shoes. Jon becomes a Lord in ASOS, the same book in which Sansa ceases “being” a Lady. Robb disinherited Sansa at the same time (if the will says what many suspect it does) that he declared he wanted Jon to inherit. Becoming Alayne meant Sansa became a bastard, just like Jon, (and Jon could very well have been declared trueborn by Robb’s will, which would mean that Sansa “became” a bastard and Jon “became” a trueborn Stark). Sansa began her story by loving singers, and has progressed toward disliking them (Marillion), while Jon initially seemed to have no use for singers … until he met the singer Mance Rayder. The Littlefinger/Lysa/Sansa dynamic played out almost as a vicious, over-the-top caricature of the Ned/Catelyn/Jon dynamic, with Sansa forced to literally stand in a (heavily skewed and sensationalized) version of Jon’s shoes: Catelyn saw Jon as a living representation of another woman that she feared Ned loved more than her, and Lysa saw Sansa as a living representation of Catelyn, the woman that Lysa (rightly) feared Littlefinger loved more than her. Sansa seemed to have a much closer relationship with her mother than with her father (the exact opposite of Jon), but “Alayne” had a much “closer” relationship with Littlefinger than with Lysa—Sansa takes on with Littlefinger (a much skeevier version of) the relatively close father/child relationship that Jon had with Ned.

In her final chapter of AFFC, Sansa thinks to herself:

She had not thought of Jon in ages.

Or so Sansa tells herself. But I think there’s a pretty good chance Sansa had actually been subconsciously thinking about Jon ever since she took on the Alayne Stone identity, because Sansa seems to be subconsciously patterning her “Alayne Stone” persona around Jon Snow. Sansa wants “Alayne” to be 14 years old, because “She had decided that Alayne Stone should be older than Sansa Stark”. How old was Jon the last time Sansa saw him? 14 years old. She becomes worried at the prospect of dancing, because she seems to think that, for some unexplained reason, Alayne Stone might not enjoy dancing:

What would she do when the music began to play? It was a vexing question, to which her heart and head gave different answers. Sansa loved to dance, but Alayne…

Dancing is a pretty popular activity among women of all social classes and we know it’s an activity very close to Sansa’s heart, given that she was able to dance even at her own terrible wedding. But then in ADWD we discover that Jon does not appear to enjoy dancing—he refuses to dance with Alys, and Alys teases him about it when she brings up previous dances they were forced to dance together at Winterfell. If Sansa is subconsciously patterning “Alayne” on Jon Snow, then the fact that she’s concerned that Alayne might not enjoy dancing makes quite a bit of sense, given that Jon’s apparent dislike of dancing seems like the sort of thing Sansa would have picked up on. (In other words, if “Alayne” is patterned after Jon Snow, then the “real” reason Sansa fears Alayne won’t like dancing is because Sansa knows Jon, on whom Alayne is molded, dislikes dancing.) Sansa thinks of Alayne as “bastard-brave”, and since she barely knows Mya, what bastard does Sansa want Alayne to be as brave as? The obvious answer is Jon. And we see “Alayne” take on the type of caregiver role with Sweetrobin that the other Stark children (Bran and Arya, especially) seem to have associated with Jon, a role that Sansa herself seemed to take on with people like Beth Cassel and Jeyne Poole in Winterfell, but not with her own younger siblings.

He was only her half brother, but still… with Robb and Bran and Rickon dead, Jon Snow was the only brother that remained to her. I am a bastard too now, just like him. Oh, it would be so sweet, to see him once again.

This is Sansa’s thought process once Myranda Royce tells her about Jon’s new position as Lord Commander of the Watch. If I’m correct and she’s had Jon on the brain throughout AFFC, then this right here actually serves as a breakthrough for her, because Sansa goes from subconsciously longing for Jon to explicitly longing for Jon. And her thought process here is a pretty useful distillation of how far Sansa’s come from AGOT, a semi-culmination of her ideological journey thus far: the main issues she once had with Jon—that he was a bastard, that he didn’t “fit” the world of knights and chivalry that Sansa loved—have been essentially nullified. She starts out with the “old” Sansa’s thought patterns (“He was only her half-brother”), but then she immediately (and pretty substantially) switches gears and starts openly longing to see Jon again, expressly thinking about how she’s now a bastard too. The ideological barriers between them are basically gone.

Indeed, Sansa’s entire arc had been bringing her closer and closer, ideologically, to the forces (winter, the North, and the Old Gods) represented by Jon. Sansa started out in AGOT preferring the Faith of the Seven, loving knighthood, loving the south, and losing her direwolf. By AFFC, we see her (far) more heavily associated with the Old Gods, favoring a non-knight (the Hound), and in an overall sense, switching gears from the epitomization of a “summer’s child” to (IMO) someone on the path to becoming a “winter’s child”. Jon and Sansa become the Starks who we see most heavily drawing their inner strength from the cold and the snow: Jon mentions on more than one occasion that Ghost loves the snow, we see Jon frequently seeking out the cold (not the heat) at the Wall. We see Sansa literally drawing strength from the snow and the cold at the Eyrie. In the beginning of AGOT, Sansa wanted only to be a queen in the hot south. By AFFC, we see her building a scale model of Winterfell and drawing spiritual strength from the forces of winter.

Given the way Sansa seems to have been sliding more and more “toward” Jon as her arc has progressed—given the way her arc has been bringing her closer to him both ideologically and thematically—I wonder what implications Jon’s stabbing (and the potential future that stabbing could bring for him) have for Sansa’s future. Because the myth of Persephone looms large over both Jon and Sansa, and given what happened to Jon at the end of ADWD, I’m very, very curious what GRRM has in store for Sansa’s arc, especially now that winter has come.

Both Jon and Sansa encounter “the pomegranate”: Sansa is offered a literal pomegranate by Littlefinger, while Jon’s rulership arc in ADWD was confronted at every turn by the Old Pomegranate, Bowen Marsh. The pomegranate, in Greek mythology, is what causes Persephone to become Queen of the Dead in perpetuity, and it’s the reason winter comes in the first place—winter, in Greek mythology, being viewed as Demeter’s grief at her separation from her daughter when Persephone descends every year to rule in the Underworld. The pomegrante causes Persephone to undertake two disparate roles, to become a creature of two separate worlds: she is both the Goddess of Spring and the Queen of the Underworld simultaneously (and concurrently), she rules in both the sunlight and the darkness. That idea—of a person moving between two contradictory spheres of existence, of a person gaining strength by a capacity to move between the darkness and the light—is a theme GRRM has played around with in other works, so there’s an excellent chance he’s exploring it in ASOIAF as well.

Both Jon and Sansa choose to reject “the pomegranate”: Jon rejects the Old Pomegranate’s demands for the future of the Watch, Sansa rejects Littlefinger’s attempt to have her eat an actual pomegranate. But look at what happened to Jon in ADWD: he refused to acquiese to the Old Pomegranate’s wishes, but the Old Pomegranate would not quietly accept rejection, choosing to physically attack him: there’s been a lot of speculation on these boards that the attack on Jon will lead to some death-based transformation, that he (like Persephone) might find himself transformed (and possibly occupying a new leadership role) because of the Old Pomegranate. GRRM apparently had some Sansa chapters prepared for ADWD, but he pushed them back to TWOW. I’m very curious about what those chapters contained.

Because winter has now come, and in winter, Persephone rules over the dead. Sansa’s arc has tracked Persephone in some pretty substantial ways: at the beginning of AGOT, when summer was in swing, she was the Stark most heavily associated with the warmth and frivolity of the South, just as Persephone was the flower-loving Goddess of Spring; Sansa was forced to marry, against her will, a man heavily associated with worldly wealth (in Greek mythology, Hades is associated with wealth because gold, silver, and jewels are drawn from beneath the ground, and Hades of course rules the Underworld). As winter approaches, Sansa loses her childlike innocence and naivete. And winter has now hit Westeros, and will presumably hit with a vengeance during TWOW—so what will Sansa become in the winter? Where winter is a time of imprisonment for Persephone, with spring/summer freeing her to walk the warm world above, it seems that summer was a time of imprisonment for Sansa, and winter might end up freeing her. And the story of Persephone ends with Persephone holding dominion over the dead during the winter. This might be a hint toward our pomegranate-associated characters’ future, especially given the heavy associations both Jon and Sansa have with the living dead. (With Jon, those associations are obvious—he’s a living man who wears black, his direwolf is named Ghost, he’s fighting wights. With Sansa, the associations are less obvious but no less profound: Sansa’s direwolf is dead (and since the Starks “are” their direwolves, Sansa is both alive and dead simultaneously because part of her is dead while part of her lives on), Littlefinger associates her with Catelyn reborn (and Catelyn has literally become the walking dead), not to mention the Hound: “The Hound is dead” we are told, and this “dead man” of course hated fire—I doubt it’s a coincidence that this description of the Hound, as a walking dead man who hates fire, sounds quite a bit like a wight.)

And then there’s this bit from AFFC:

All around was empty air and sky, the ground falling away sharply to either side. There was ice underfoot, and broken stones just waiting to turn an ankle, and the wind was howling fiercely. It sounds like a wolf, thought Sansa. A ghost wolf, big as mountains.

It’s easy to forget sometimes that AFFC and ADWD were originally meant to be one super-book. Could Sansa have been “sensing” Jon’s “death” here? Is the “ghost wolf” Ghost? Or is there a hint here for Sansa herself? She’s become a Stone, and she’s been told that a stone is a mountain’s daughter. The cold winds are howling, and she thinks the cold winds are becoming a ghost wolf—is Sansa, she of the dead direwolf, en route to her own eventual death and resurrection?

Brave. Sansa took a deep breath. I am a Stark, yes, I can be brave.

Recovered Jonsa fics #2: Sansa’s Silent Treatment

Still reposting/restoring fic from my deleted blog!

Prompt: Sansa is jealous when Jon pays attention to other females so she gives him the silent treatment. He cannot understand why she is mad at him and it drives him nuts.

There is chatter and delight running throughout the queen’s ballroom as the court feasts on wild boar, baked apples, strawberries, spinach, and a variety of fine dishes and wines. Jon sits, content and happy, listening with rapt attention as Asha Greyjoy regales the main table with tales of her travels. Every so often, Obella and Loreza Sand contribute little anecdotes of their late father whenever Asha mentions a place the Red Viper had been. Arya occasionally interjects with a story about Dorne.

Jon is happy, despite his extravagant surroundings. He rarely feels this good at formal events, but this one pleases him. It’s his Name Day, so he is permitted to dispense with most of the formal seating arrangements that his wife has to usually plan meticulously to suit the current political climate. Instead of being surrounded by pretentious, grasping lords, the main table is stocked with his favorites: Asha Greyjoy, his wards Obella and Loreza, Arya, Sam, Ned Dayne, Brienne of Tarth, Tristopher Swann, Wylla Manderly Tyrell, Mya Stone, Myranda Royce, Satin Flowers, Gendry of the High Hill, Alysanne and Lyra Mormont, Meera Reed, and Patrek Mallister. Arya, who was usually seated to Sansa’s right, gets to sit to his left: the place usually reserved for his Hand, Willas Tyrell, who is down the table a bit, next to his wife, Wylla. The only one in her usual place is Sansa, to Jon’s right, who sits and eats quietly. Every so often, Jon leans over to his queen, pressing a happy hand to her swollen belly, and inquires as to whether or not she is feeling alright. Thus far, she has nodded each time.

Jon does feel a little guilty, though. Since Sansa first conceived, he has remained in the city, usually staying in the Red Keep itself. He is obsessive about keeping her close, keeping her safe, keeping her healthy, keeping her comfortable. He has brought in two maesters to assist Grand Maester Durin, four top midwives, including one from Braavos who had attended the Sealord’s wife through no less than seven successful pregnancies and births, and three septas. He has yet to go a night without massaging his wife’s ankles and back. Arya jokingly calls him “the nursemaid.” Even Bran and Rickon, in their letters, have taken to calling him this.

Jon doesn’t mind. He would rather be a nursemaid than neglect his wife. He still winces with guilt whenever he has to hold her hair, or she grimaces from her aching back, or looks weary, or experiences any other form of pain or discomfort related to her condition. Not that the pregnancy has been nothing but pain, but it hasn’t been bouyant, and there was more pain and risk to come.

But for his name day, his wife encouraged him to spend some time with friends, so he has taken three days spending more and more time outside the castle, including a sail around Blackwater Bay with the newest ship in the royal fleet, and culminating in today’s hunt. He could not help but feel some euphoria about spending so much time in the woods, bow and blade in hand. He is still a creature of the wilderness, north or south, and it had felt so stifling and unnatural to spend so much time indoors. He enjoyed this hunt, perhaps more than he should.

But he is with her now, and though he was not the one to ultimately slay the beast, he feels proud of being able to bring this hearty creature home and feed it to his wife and unborn child. And she is eating: after three months of illness, she is eating constantly. He loves it.

Asha Greyjoy begins telling a tale of the carnal conquests of some of her lustier crewmen when Patrek Mallister, well into his cups, calls out, “Sounds like he has a king’s appetite for female company!”

Most of the table laughs, and Jon raises one eyebrow. There had been ribbing all day about the amount of ladies in his personal hunting party. “I have an appetite for fine company!”

More laughter, and Asha eagerly continues her tale. A short while later, she is interrupted by the sound of someone tapping their cup with a fork. Everyone quiets and looks over to the source of the sound.

Garlan Tyrell rises from his seat at the second table, straightening his doublet and clearing his throat. “A toast, to our most valiant and talent King Jon, for providing us with such a bountiful meal!”

There are many “hear hear”’s, but Jon feels compelled to speak up once the toast is made. “I thank you, Ser Garlan, but I must admit, credit for slaying the boar must go to Lady Greyjoy. It was her arrow that found its mark! To Lady Greyjoy! Terror of the seas and the kingswood alike!”

“LADY GREYJOY!” The crowd echoes. Jon smiles at his vassal, who looks proud as a peacock.

Jon left the banquet, pleased and weary, and a little in his cups. He holds Sansa close as they returned to their bedchamber, stealing kisses to her cheek and hair every so often. When the door closes behind them, she turns to him, and he cups her cheek, looking into her big, blue eyes.

“Did you enjoy yourself today, Jon?”

“Yes, thank you,” he says, smiling at her hazily. “You are so… You are my queen.”

Even now, after over a year of marriage, he still cannot believe she’s his.Every so often, he has these moments where he’s almost paralyzed by awe.

“And you are my king,” she replies softly, reaching downwards to his breeches, “Would my king like his queen to do her duty?”

“Mmmm…” He pulls her close into an embrace, eager to bury his face in that red hair. “I’m tired. I’d rather just…”

She pulls away. “As you wish, My Lord. But I must prepare for bed.”

Before he can offer to help her undress, she calls in her maid. Jon sighs and quietly strips down to his tunic and smallclothes and crawls into bed, waiting for his wife to join him. But he dozes off before she does.

When he wakes, she still sleeps, and he spends some time just watching her until finally calling for his steward and manservant. The Mormont sisters need to have an early morning meeting, and Jon reluctantly pulls himself away. After that, it’s surveying the new updates of the Royal Fleet with Asha Greyjoy at the harbor, whom he ultimately asks to take lunch with him, Arya, and Meera Reed.

It’s not until he holds the afternoon court that he sees his wife, who seems preoccupied. He doesn’t have time to ask her what is bothering her before the petitions begin. Throughout the session, his queen offers an unusually high number of interjections, even openly disagreeing with him twice. While Jon isn’t displeased, he is surprised. He takes no issue with his queen contradicting him in public, indeed, he outright encourages it whenever necessary. But it is Sansa who usually protests this. She thinks it is inappropriate to do so publicly, that she should reserve her contrary opinions to private or semi-private discussions. Indeed, she is usually adamant about this.

Jon, however, can imagine why she might break her rule about it: normally, before court sessions, they meet together for a preliminary meeting to go over the scheduled petitions— which is usually where his wife voices her positions. When they were wed, Jon asked his wife to help him rule, to be his partner. She has taken this request in earnest, though she prefers to keep this somewhat private. She considers them both better off if she plays the role of a more traditional consort when not behind closed doors, and her prior years in the capital have taught her to keep her views and activities as opaque as possible. But as devoted as Sansa is to image, she is even more devoted to duty. Her husband asked her to rule with him, and she will. She’d not gotten to voice her feelings in private today, so this was her only option. Still, Jon feels guilty. He should have taken lunch with her to go over things before court.

After court is complete, the Small Council meets, where he and his Mistress of Ships go over the development of the royal fleet. He beams as he and Lady Greyjoy recount the progress, proud of their work. After the meeting, he hangs back to thank Asha again for her work. Once he has done so, he turns around, expecting to see his wife and Mistress of Laws waiting for him by the door, as was her habit. But oddly, she is gone.

Jon’s stomach sinks. He’d wanted to take a walk with her in the gardens before supper. But he shrugs and heads for the training yard instead. He returns before supper, muddy and laughing. He and Arya had taken turns putting one another on their backs.

In the bedchamber, he finds his wife on the bed, having her maid massage her ankles. Jon is surprised— usually that is his duty. He walks over to kiss her cheek, but she pulls away, reaching into her skirts and handing him a handkerchief. He blushes. He’s covered in sweat and mud. He wipes his face, then goes in for another kiss. Sansa stays perfectly still, and barely responds.

Deardra, the maid, speaks up, “Your Grace, perhaps you should have a bath and a change before supper?” “Erm, yes, call my manservant in,” he says awkwardly, eyeing Sansa with confusion. She doesn’t look at him. Deardre hurries out, and Jon speaks to his wife.

“Are you well, Madam?”

Sansa responds by turning on her side and hugging her belly. A no.

Jon stares at her, thoroughly confused. “What’s wrong? Did I do something?”

If it were not Sansa, Jon would have described the noise she makes as a grunt. But Sansa does not grunt. She does, however, make an indignant throat noise.

“What is wrong?” He asks again, reaching out to her. She turns her head and glares. Jon realizes, to his horror, that this is one of those cases where his wife feels he should realize his error on his own, without her having to tell him.

These situations don’t occur often, but when they do, it is the worst, for three reasons: 1) He never manages to figure it out nor fix it until after she finally breaks down and tells him; 2) It’s something big and offensive enough for Sansa to consider it obvious; and 3) Once she has divulged her grievance, it’s usually something that seems obvious once spoken, and he always feels like awful for not figuring it out.

“Sansa, please tell me. I cannot fix it if I don’t know.”

She turns away again. He sighs.

“Will you be taking supper with me?”

She shakes her head. He sighs again.

“Very well.”

His bath and changing is awkward, as is his good-bye to his wife when he leaves for supper. He sends an invite to Asha, Meera, Sam, and Arya to join him for supper in his private dining room. It’s a quarter hour into their roast duck that Arya finally asks, “Alright, Jon, what’s wrong?”

He reddens. “Nothing.”

“Liar.” Arya says. Jon doesn’t answer. Their other dinner companions exchange glances, finish their food quickly, and excuse themselves. Arya orders the servants to take their food away, and, once the room is empty of all but the two of them, she speaks.

“Sansa’s not ill, is she?” Arya asks, looking concerned.

“I don’t think so. Not that she’d tell me is she was,” Jon replies resentfully, “She isn’t speaking to me.” “Ah.” Arya sits back in her chair, appraising him. “And you don’t know why.”

“How can I know why if she won’t tell me?!” The king stands and starts pacing. “I know it must be something serious, if she’s this upset. Usually she tells me things!”

“Of course. She knows you’ll listen. Like Ser Patrek so insightfully remarked last night, you enjoy the company of women.”

“Right, I’m not the sort to expect women to be silent! So why won’t she just tell me what is wrong?!”

At this, Arya rolls her eyes and scoffs.. “Jon, you are so dense sometimes!”

Oh gods, not her too. If Arya was pulling this as well, then it had to be bad. “What is it, then?”

“Ugh!” Arya stands. “Why don’t you ask Asha Greyjoy?”

Jon gets to his feet. “Maybe I will!” It seemed Lady Greyjoy was the only person willing to make sense today. He walks off, angry. Arya was supposed to be on his side. She was always on his side.

He goes back to his chambers, and Sansa is asleep. He gets into bed, but doesn’t sleep.

Why doesn’t he ask Asha Greyjoy? She was a woman. And she was one of the more level-headed people he knew. And she was Ironborn, and as frank about things as any Ironborn could be. She wasn’t particularly close with Sansa, but there seemed to be a certain… understanding… all women seemed to have. So he invites Lady Greyjoy to take breakfast with him in his privy chamber.

Asha arrives, oddly enough, with two of her men, looking a bit uncomfortable. Jon blushes. “Um, Lady Greyjoy, I had hoped to dine with you alone, to discuss a personal matter.”

“I do not think that wise, Your Grace.”

And that’s when it hits him.

He rises from his seat, nearly knocking over his plate of poached eggs and venison sausage, horrified.

“Deepest apologies, Lady Greyjoy, but something has… I need to attend to something at once. I’m so sorry!” He bows deeply —- he doesn’t want to displease his wife any more by being discourteous to a vassal, even who… Jon rushes back to the bedchamber.

Sansa isn’t there. He heads for her privy chamber, desperate to speak to her. He is about to have himself announced when he hears a shout. It’s Arya. “Shut up, Margaery!”

Glancing awkwardly at the guard at her door, Jon humbles himself by pressing his ear to it, like a sneaky child.

“Arya please!” Sansa says, her voice strangled.

“No, I’m sick of this horseshit! Jon is an idiot, but he would never do such a thing! And either way, Sansa shouldn’t just sit by and take it!”

“Lady Arya,” Margaery Tyrell says, her voice condescending and firm, “I realize you are not prone to courtly pursuits, but you must understand that I am merely giving your sister the best advice I can. Men, even good men, are men. This sort of thing is common, especially with kings, and especially during periods where their wives are in Her Grace’s condition. It’s to be both expected and accepted, if one does not wish to be miserable. There’s nothing Her Grace can do about him sharing another’s bed. But what she can control is whether or not these women end up being passing fancies or her husband’s confidantes. If she is kind and sweet and forgiving, the king will always end up coming home to her, seeking out her and her alone for support, confidence, and advice. He’ll even feel more guilty about betraying his ever-lovely wife, and be more malleable as a result. If you are harsh, abrasive, and resentful, he’ll seek out women for more than just pleasure, but for comfort and solace. He will tell them things, he will become intimate with them on a level beyond the physical, and he will prefer their company to the queen’s. She will spend more time alone, and create true rivals, by being abrasive than if she turns a blind eye.”

“You don’t know anything about Jon! He’s not some Lannister or Baratheon, not some southern ponce! He was raised by our father, who was always loyal to our mother!”

“Don’t be so sure of that. Just because King Jon wasn’t truly a bastard doesn’t mean—”

“—Don’t say another word, Margaery!” This time it was Sansa who interrupted, her voice wrung with fury that Jon currently shared. Margaery Tyrell was never his favorite person, but he never loathed her. At the moment, however, he does. How dare she?

“Apologies, Your Grace. I did not mean to besmirch your father’s good name.” The Tyrell woman has the decency to sound chastened.

“What do you think, Myranda?” Sansa asks.

“I think men are men, and their eyes will wander. But that their cocks don’t always catch up. Our king is a good man, and while he might be tempted, that doesn’t mean he’s acted on it— yet. I think you can, and should, nip it in the bud.”

“And if he has strayed already?”

“My advice is the same. Make sure it doesn’t become a habit. But maybe…”

“What?”

Myranda sighs. “…Maybe try guilt instead of anger. Shed some pretty tears, bemoan your broken heart, make him hate himself. Men have a way of feeling justified about things women get angry at them for. Margaery isn’t entirely wrong.”

“If that doesn’t work, I’ll geld him!” Mya Stone offers cheerily. At this, the room laughs, even Sansa.

Having heard enough, Jon walks away, determined. He goes to his privy chamber, tells his steward to cancel everything except court that day, gives special instructions for the kitchens, and sends word for his wife to meet him on the balcony outside their bedchamber.

He receives her for lunch with a table laden with flowers, fresh trout, sweet lemongrass salad, peach preserves, lemoncakes, arbor gold… all of her favorite things. He dresses in a doublet she made him of red velvet, the one she likes the most. When she arrives, he helps her into her chair and pours her wine himself. It’s only when he’s seated that he speaks.

“I’m so sorry. Nothing has happened, I swear it. I’ve not touched another woman since Ygritte, I swear it upon the Old Gods and New. Upon the grave of Eddard Stark. Upon our child’s life.”

Her breath catches at this. And, to his horror, she bursts into tears. He panics. This was supposed to make her feel better.

Sansa instantly reaches into her skirts for a handkerchief and tries to dry her eyes. “I’m terrible! I never should have doubted you! I just…”

“What?”

“It… It wasn’t just that I thought you might have been unfaithful. It was that others might think so. Others might doubt me, doubt us. Even if you hadn’t done a thing, it would seem that I was dishonored, and people would try to take advantage of that.”

Jon swallowed heavily. “I know.” He did, too. He knew what she meant. Word gets around that the king has strayed, and people start taking the queen less seriously, start propping out their bonny daughter to catch their liege’s eye. Since taking the throne, Sansa had helped him grow accustomed to his new role, instructing him on certain aspects of court life. This happened even before they were formally betrothed. And indeed, her early counsel had been one of the reasons he’d married her. She’d explained this aspect of court life before she was ever his designated bride. “I should have… But I never thought—”

“You are so often surrounded by women. Women who are strong and brave and wild and fierce. Who wield blades, who are warriors. Women who have the sorts of adventures and pursuits you have. Who aren’t anything like me.”

His stomach sinks. “That doesn’t mean I love you any less, or would have you any other way, Sansa. You are all I want. I just…”

“… I know! You have friends who share your interests, and you don’t care if someone is male or female. I love that about you. But I can’t help but look at them and think of all the things they share with you that I don’t. I can’t help but look at them and wonder if you wish you had one of them instead of me.” She buries her face in her handkerchief.

Jon gets up and hurries to her. He pulls her hands away, holds onto them, and looks into her eyes. “Sansa, if I had one of them, who would I go to when I need the fighting to end? How would I have a life without the monotony of everything being the same all at once? How would I remember that there is life beyond a battlefield? You are all I could ever want, Sansa. The only wife, only lover I want. I have you, and I’m a eunuch to every other women I meet. Sometimes, I can’t even believe you are mine. That I get to be yours. And if anyone doubts that, I will do whatever I can to show them how wrong they are. Just please, if I ever act inappropriately, tell me. Margaery Tyrell can go hang.”

There is a pause. The look of delight that came over Sansa’s face as he spoke slowly turns to suspicion. “Wait, how do you know what Margaery said to me?”

He freezes. “Oh, I…” Seven Hells.

She clutches the bridge of her nose between two fingers, her eyes shut in consternation. “For pity’s sake, Jon!”

“Well! You weren’t telling me what was wrong! I needed to know somehow!”

At this, she starts laughing. She clutches his face and kissed him. “Alright, Husband. I will tell you next time. And you won’t eavesdrop.”

He smiles then, and gives her another kiss. “Alright. And I meant what I said. Margaery Tyrell can hang. I hope you won’t take her seriously.”

“Well, she wasn’t entirely without cause. Many kings have strayed, especially when their queens have… this…” She gestures to her belly.

Jon lowers his head and mouth. “Well, I love this.” He kisses her belly, his blood suddenly heated. “I could spend an eternity worshipping this, and every other inch of you. Would you like me to prove it?”

A smile creeps across her face. “We can’t afford an eternity, but…” She glances over her shoulder to make sure no one was around to see, then starts lifting her skirts, her reddened eyes now flashing. “Let’s see how much you can manage between now and court.”

“Out here?” He asks teasingly. “My Lady!”

“Out here, and in there.” She points behind her to the door to their bedchamber, grinning lasciviously.

SANSA STARK WEEK 2024: Day 6 - Heritage.

Favourite Jon x Sansa Endgame Foreshadowing

Another day of quarantine, and I’m back on my Jonsa bullshit.

Got bored and decided to gather and rank my favourite Jon x Sansa book foreshadowing. Decided to leave parallels, chapter orders, and when they think of each other out of it. Just the good old juicy foreshadowing. The hidden text within the text.

Important to note, I discovered… none of these. I’m just a regular consumer of much smarter people. If you’re bored and want to read more, I went ahead and linked some of my favourite metas to accompany most entries.

If you have an interesting meta or think piece to share regarding any of the text, feel free to link and I’ll add.

21. Dragonflies

Another dragonfly was moving across the water, or perhaps it was the same one. What shall it be, Dunk? he asked himself. Dragonflies or dragons? – The Hedge Knight

Jenny of Oldstones and the Prince of Dragonflies (@butterflies-dragons)

20. A Tale of Two Vals

Then Ghost emerged from between two trees, with Val beside him. They look as though they belong together. Val was clad all in white; white woolen breeches tucked into high boots of bleached white leather, white bearskin cloak pinned at the shoulder with a carved weirwood face, white tunic with bone fastenings. Her breath was white as well… but her eyes were blue, her long braid the color of dark honey, her cheeks flushed red from the cold. It had been a long while since Jon Snow had seen a sight so lovely. – ADWD, Jon XI

Beyond, the haunted forest waited, dark and silent. The light of the half-moon turned Val’s honey-blond hair a pale silver and left her cheeks as white as snow. She took a deep breath. “The air tastes sweet.” “My tongue is too numb to tell. All I can taste is cold.” – ADWD, Jon VIII

“OH, SWEET SHE WAS, AND PURE, AND FAIR! THE MAID WITH HONEY IN HER HAIR!” “You will love Highgarden as I do, I know it.” Margaery brushed back a loose strand of Sansa’s hair. – ASOS, Sansa I

Ser Jorah spent most of his waking hours pacing the forecastle or leaning on the rail, gazing out to sea. Looking for his silver queen. Looking for Daenerys, willing the ship to sail faster. – ADWD, Tyrion VIII

Val: A Subversion of BATB in Jon’s arc? (@lostlittlesatellites)

Keep reading

Sansa Stark┃the living painting

John Millais. The Martyr of the Solway. 1871. │ Gabriel von Max. Young woman with flowers in her hair. │ Sophie Gengembre Anderson. Portrait of a Young Girl. │ James Carroll Beckwith. The Embroiderer. │ Arthur Hughes. Juliet and her Nurse. 1867–1872. │ Thomas Benjamin Kennington. Contemplation. │ Alexandre Cabanel. Fallen Angel. 1847. │ Frederick Sandys. Helen of Troy. 1867. │ Ruth Sanderson. Arthur and Guinevere. │ Paul Delaroche. The Execution of Lady Jane Grey. 1833. │ Johannes Vermeer. Girl with a Pearl Earring. 1665. │ Stephen Phillips. Nancy Price as Calypso in Ulysses. 1902. │ P. J. Lynch. Eithlinn, Daughter of Balor. 2000. │ Charles Allen Winter. Portrait of a Woman. 1919. │ William Oxer. Amor Aeternus. 2022. │ George Romney. Emma Hart as Miranda. 1786. │ Bertalan Székely. Red Haired Girl. 1875. │ John Roddam Spencer Stanhope. Thoughts of the Past. 1859. │ Jean-Jacques Henner. Head Of A Young Girl In A Blue Dress. │ John William Waterhouse. Ophelia. 1910. │ Rudolf Kosow, Geheimnisvoll. │

Leighton Meester wearing ELIE SAAB – Gossip Girl (2007) ‘New York, I Love You XOXO’