“Pose” star Billy Porter, clad in a gilded outfit by The Blonds, was literally carried onto the pink carpet on the shoulders of six shirtless men. But the show didn’t stop there: After climbing down from his throne, the star flaunted his impressive wingspan for the crowd of photographers before heading inside.
When asked to describe what, exactly, ‘camp’ means, designer Dame Zandra Rhodes finds herself at a loss for words. “I think it’s an extremely difficult subject,” she says with a laugh. “It’s a minefield.” Rhodes is not alone. Since it entered the English language in the late 19th Century, the term has been subject to various interpretations, and there still doesn’t seem be a consensus.
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Susan Sontag’s 1964 essay Notes on Camp is the inspiration for the 2019 Metropolitan Museum of Art gala and accompanying exhibition. In it, the late writer and filmmaker wrote: “To snare a sensibility in words… one must be tentative and nimble.” Yet, in reading Sontag’s essay, it seems that even she was at times eluded by the deceptive simplicity of the term.
The first English definition of the term, which appeared in a 1909 edition of the Oxford English Dictionary, conformed to popular, contemporary notions of camp: “ostentatious, exaggerated, affected, theatrical; effeminate or homosexual; pertaining to, characteristic of, homosexuals…” If not synonymous with stereotypical male homosexuality, it was, as per one of the OED definitions, strongly associated with it. “Camp to me usually meant, you know, someone gay with a bent wrist,” says Rhodes. “Ladies would have said that about Oscar Wilde [to whom Sontag dedicated her essay] at one time.”
Likewise, Fabio Cleto, a co-author of the exhibition’s accompanying book, says that, “fully articulated camp emerged in the late 19th Century, and in the queer-star image of Oscar Wilde. It was Wilde’s stigmatised body,” he tells BBC Designed, “whose trials for ‘gross indecency’ in 1895 typified the ‘homosexual’, which provided a grammar of camp as a twisted form of aestheticism that largely (if indirectly) meant sexual deviance.”
Camp which knows itself to be Camp (‘camping’) is usually less satisfying – Susan Sontag
Yet camp, to Sontag, transcended homosexual mannerisms. “The hallmark of Camp is the spirit of extravagance,” she wrote in her seminal essay, which presented 58 aspects of the “sensibility.”. Among other things, Sontag described camp as being playful and “anti-serious”, as well as exaggerated and artificial. “Camp,” went her analogy, “is a woman walking around in a dress made of three million feathers.”
At the same time, however, Sontag differentiated between “naïve” and “deliberate” camp. Unlike David Bowie in quasi-drag singing a jaunty number like Fill Your Heart, for instance, “the Art Nouveau craftsman,” wrote Sontag, “who makes a lamp with a snake coiled around it is not kidding … He is saying, in all earnestness: Voilà! The Orient!” Similarly, it has been said that, while Jacqueline Susann’s 1966 novel Valley of the Dolls was intended to be camp, the film that followed wasn’t, but was camp nonetheless. Sontag favoured the naïve – “Pure Camp” – over the deliberate: “Camp which knows itself to be Camp (‘camping’) is usually less satisfying.”
The scope of camp has since expanded. “Today, camp is omnipresent,” Cleto tells BBC Designed. “It is so everywhere that one may no longer notice it as exceptional.” Camp has become inclusive of other genders and sexual orientations, for instance ‘dyke camp’, and acts, says Cleto, “as a subversion strategy for many marginalised identities.” It also, as in the case of Sontag’s Art Nouveau example, sometimes finds itself stripped of any sexual connotations whatsoever. “The word has changed its focus,” says Rhodes, who also believes that the Met exhibition, in which one of her designs is being featured, “[isn’t] meant to add to homosexuality at all”.
It has been suggested that the word ‘camp’ derives from ‘se camper’, meaning ‘to posture boldly’
So what does ‘camp’ mean where Notes on Fashion is concerned? According to Rhodes, “it really means something that’s over the top in its concept, that wouldn’t go unnoticed and [that has] a sense of humour about it; but it’s not mainstream, and it’s joyous and out of the ordinary …” And certainly the exhibition’s chief focus is on deliberate camp. As Thierry Mugler – whose work is also in the exhibition – tells BBC Designed, camp is “freedom and fun mental health”. Or, as Cleto puts it: “It may be roughly described as a form both of performance and of perception celebrating theatricality and excess, improvising reality as a stage for outrageously ironic self-display and reinvention.”
Strike a pose
Using the courts of 17th-Century France as a starting point (it has been suggested that the word ‘camp’ derives from se camper, meaning ‘to posture boldly’), the Met’s Camp: Notes on Fashion explores the trajectory of camp from the fringe towards popular culture in around 200 objects – outfits, sculptures, paintings, and drawings. Being displayed at the Anna Wintour Costume Center, and linked with the glamorous Met Gala, however, the exhibition naturally emphasises fashion. Alongside an ornate, shimmering outfit with seashell epaulettes designed by Rhodes – “you can say it’s over the top”, she says, “you can say it’s got a certain sense of humour” – are ones by designers including Mugler, Christian Lacroix, Giorgio Armani, Miuccia Prada, and Anna Sui.
Many of the outfits seem like things one would see at a plush costume party or ball, with no particular sexual connotations. In a design from Marjan Pejoski’s autumn/winter 2000 collection famously worn by Björk on the Oscars red carpet, for instance, a swan takes on the form of a dress, and rests its lifelike head on its mannequin’s breast. An all-pink suit made by Bertrand Guyon for Schiaparelli’s autumn/winter 2017 men’s collection features flamingoes printed on its blazer and an accompanying outré avian headpiece.
That said, camp here still retains its initial, longstanding affiliation with male homosexuality. Walter van Beirendonck’s spring/summer 2009 male bodysuit, complete with muscle details and the outline of a sizeable phallus, is a case in point, as is Jeremy Scott’s spring/summer 2012 ensemble of a fringed waistcoat, chaps and leather underpants – all in lurid pink and green with black detailing – that brings to mind the Village People cowboy and the homoerotic work of Finnish artist Tom of Finland.
It seems the definitions provided by the OED more than a century ago, with their homosexual associations, still hold to a large degree. Sontag, who emphasised the theatrical, flamboyant aspect of camp above all else, has, says Cleto “been accused of de-gayifying camp, of betraying its gay secret by divulging it [to] the educated classes.” Yet even Sontag admitted that “[male] homosexuals, by and large, constitute the vanguard – and the most articulate audience of – Camp”.
“Queer parody” is how academic Moe Meyer, who too has written extensively on camp, refers to it. While Rhodes says the word conjures an image of “someone who plays extreme versions of women with a cigarette holder”, adding that such parodying is not derogatory or intended to insult, but rather all in good fun. Alan Edwards, the former UK publicist of David Bowie – whose early career has often been associated with camp – says that, prior to hearing about the Met show, the term recalled for him “the British films of the 1950s, especially all those Carry On films and [ones] where TV comedians went back to traditional ‘music hall’, where there were a lot of men dressing up as women.”
How, then is camp ultimately to be regarded? Though Rhodes takes a stab at putting the term into words and understanding what it implies in the exhibition, it confounds her. “I’m not clear on what they mean!” she exclaims, after a palpable pause. “Does it just mean exotic fashion?” Unfortunately, as Cleto explains, there’s no straightforward answer: “Being elusive, unstable, and elitist, camp cannot be framed into a sentence or into a definition.”
And, while many of the designers taking part in the exhibition might share Rhodes’ view that camp as the theme of an exhibition is but a “thin thread”, its abstruseness, from a curatorial standpoint, can actually be seen as a strength; for if few can agree on what camp is, few can also agree on what it isn’t. In this respect, Rossella Jardini’s black dress for Moschino spring/summer 1998, emblazoned with a giant white question mark, is rather telling.
Camp: Notes on Fashion is at the Metropolitan Museum, New York, from 8 May to 8 September 2019.
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If the mission statement of “camp,” this year’s Met Gala theme, is go big or go home, then there was only one logical choice for the night’s performer: Cher. The undisputed, unrivaled queen of camp took the stage at 10:00 p.m. in the Temple of Dendur for a surprise set. But first, Lady Gaga had to quiet down the crowd. “Sit down and shut up!” Gaga commanded in a playful voice, her black Brandon Maxwell bracelet sparkling under the lights. “We have incredible performances tonight, and I ask you kindly to pay attention. Are you quiet? Are you focused? Are you ready?!”
Cue the cheers and applause. Seconds later, the dancers from Ryan Murphy’s evocative show Pose emerged in colorful costumes to kick off the show. When they exited stage left, Cher appeared in a black leather jacket, silk camisole, faded jeans, and giant platinum blonde wig—owning the ancient Egyptian stage from the moment she walked out on to it.
Based on Susan Sontag’s 1964 essay “Notes on Camp,” the theme of this year’s gala drew on both the silly and sublime (think a pinkalicious red carpet), a larger than life 25 foot tall feather and pink rose centerpiece greeting guests upon entry, along with tablescapes complete with feathered lampshades)—and no one knows how to serve up this particular brand of aesthetic exaggeration and outrageousness better than Cher. After all, back when she first emerged as a TV personality in the 1970s with The Sonny & Cher Comedy Hour and Cher, she was known for delivering elaborate, ornate, and unexpected looks week after week.
The next-level star started out with “Waterloo,” and then segued into “Strong Enough” and “Believe” before making a costume change. Re-emerging in a sequined sheer bodysuit and fee flowing wavy inky blue (!) hair, Cher belted out “Found Someone” and “Turn Back Time.” Dancers stationed throughout the crowd got the party started, and guests swayed to the music waving their arms in the air to the music.
After Cher took her final bow, Serena Williams arrived at the mic to introduce RuPaul who had taken his position in the greenery-covered DJ booth, ready to commandeer the music for the remainder of the evening. Disco ball projections appeared on the walls of the temple as Abba’s “Dancing Queen.” It doesn’t get any campier than that.
See All of the Celebrity Looks From the Met Gala 2019 Red Carpet:
Met Gala 2019: See Every Celebrity Arrival, Read the Latest Stories, and Get Exclusive Behind-the-Scenes Here
‘‘This little baby is absolutely to die for,’’ he said. ‘‘I'm just over the moon.’’
The infant will be seventh in line to the British throne and Queen Elizabeth II’s eighth great-grandchild. Harry is the younger son of Prince Charles, the next in line to the throne, and the late Princess Diana, who died in a Paris car crash in 1997.
The child will be eligible for dual British-U.S. citizenship if Meghan and Harry want to go through the application process.
Harry, speaking before TV cameras on Monday afternoon was present for the birth, which he said was an amazing experience. The couple has said they didn’t find out the baby’s sex in advance.
Senor royals have been informed of the birth, as has the family of Princess Diana, Harry’s late mother.
Meghan, the Duchess of Sussex, was formerly known as Meghan Markle and was a TV star before retiring from acting to marry Harry at St. George’s Chapel on the grounds of Windsor Castle a year ago.
Journalists and well-wishers have camped out for days in Windsor, about 35 kilometers (22 miles) west of London, awaiting the baby’s arrival.
Meghan, a California native, had a starring role on the American TV series ‘‘Suits.’’ She had a previous marriage that ended in divorce and has strong feminist views. As the daughter of a black mother and a white father, she says she identifies as biracial.
Harry, who has said he wanted to protect his wife from intrusive media coverage, and Meghan have said they plan to keep many of the details of the birth private.
The birth marks the completion of Harry’s transformation from troubled teenager to committed military man to proud father. He has long spoken of his desire to start a family.
He and his older brother, Prince William, along with their wives, are seen by many in Britain as the new, fresh face of a royal family that had become stodgy and aged. They are raising the next generation of royals amid a genuine groundswell of public support for the monarchy.
Meghan in particular represents a change for the royals: She is American, older than her husband, divorced, and comes from a biracial background.
She also achieved considerable success in her own right before agreeing to a blind date with Harry that changed both their lives. Meghan had an important role in the popular TV series ‘‘Suits’’ and had a wide following even before she joined the world’s most famous royal family.
Harry and Meghan recently moved from central London to a secluded house known as Frogmore Cottage near Windsor Castle, 25 miles (40 kilometers) west of London. The move is seen in part as reflecting a desire for privacy as they raise their first child.
It also separates Harry and Meghan from William and his wife Kate, the Duchess of Cambridge, who had been living in the same compound at Kensington Palace in central London.
The Duchess of Sussex has gone into labour, Buckingham Palace has said.
The infant will be seventh in line to the throne, behind the Prince of Wales, the Duke of Cambridge and his children - Prince George, Princess Charlotte and Prince Louis - and the Duke of Sussex.
Prince Harry and Meghan announced the pregnancy publicly on 15 October 2018 - the first day of their royal tour of Australia and New Zealand.
The new arrival will be the Queen's eighth great-grandchild.
The baby's sex will be a surprise for the couple, who have chosen not to find out what they were having.
The duchess was last seen on an official engagement on 19 March when she signed a book of condolences in London with Harry for the victims of the Christchurch terror attack.
The former actress and the duke moved into their renovated home Frogmore Cottage on the Windsor Estate at the beginning of April, as they prepared for their baby's arrival.
8 November 2016 - Kensington Palace releases a statement that confirms Prince Harry has been dating Meghan Markle "for a few months" and asks the press to respect their privacy
28 November 2017 - Harry and Meghan announce they are engaged to be married
15 December 2017 - Kensington Palace confirms the couple have chosen to wed in Windsor on 19 May the following year
19 May 2018 - Harry and Meghan are married in front of 600 guests at St George's Chapel and become the Duke and Duchess of Sussex
15 October 2018 - Kensington Palace announces the duchess is pregnant, and is due to give birth in Spring 2019
"Your mouth is moving, but I still haven't heard anything about MY ELEPHANTS."
HBOThe battle of Winterfell is over, the Night King has said his last good night and everyone is ready to get back to normal life in Westeros. What's that? There's still a lot of messy stuff that still needs to go down? Sounds like Game of Thrones is ready to deliver in episode 4!
This week we're recovering from last week's bloodbath and things are still kind of hectic (so hectic, in fact, that someone left a very modern, very Starbucks-looking coffee cup in the middle of Winterfell's dining hall. C'mon guys, who's running the joint here?)
But if you thought the action was over, you're wrong. It's time for a very pressing threat: negotiating the byzantine machinations of patrilineal monarchy in a region where everyone wants to just kill the crap out of each other!
If the start of season 8 got off to a slow start for you, then episode 3 delivered on the carnage. (If you still haven't watched that ep, then now's the time to stop reading and go and catch up on the action). We lost old favorites -- you were a good man, Theon -- and it all culminated in the most explosive ending since the Red Wedding. Arya taking her dagger (the very dagger that was dispatched to kill Bran all those years ago -- TWIST!) and stabbing Ol' Man Winter right in his frosty zone. Ice, Ice Bye-Bye.
So, what's next? Like, we've literally been building to this moment for years and now the dead are buried -- how do we build the stakes from here?
All that's left to do is cue up the episode, switch your TV to moody dark mode and get ready for a good old-fashioned game of "Who gets the knife chair?!" It's episode four, and it's on.
🚨🚨🚨Sound the spoiler klaxon -- and abandon all hope, ye who enter here🚨🚨🚨
With the battle of Winterfell behind us, it's time to bury the dead. Some poor sod has been up all night chopping wood for the funeral pyres so we can farewell our fallen heroes, like Theon, Ser Jorah and Beric (though I'm putting money on Beric getting torched and waking up like he was taking a cheeky nap. Fire is like a warm bath for him).
But once those bodies start burning, the general consensus seems to be "Hey guys, are we hungry?" Thankfully someone had the forethought to cook up a load of bacon and eggs (hopefully on a different fire) so everyone retires to have a much needed brekky.
In the halls of Winterfell, everyone is trading stories and returning to the general busywork of trying to hook up with each other. Except for Jon and Dany, who have gotten over the inconvenient disruption of wight-slaying to get back on their bullshit. Who should rule the Seven Kingdoms? Are we, like, related related? Their silent staring at each other says it all.
Having finished her breakfast (she loves eggs cooked over a fire), Dany decides to play her next hand, anointing Gendry as Lord Gendry of Storm's End -- ensuring she will forever have the allegiance of the folks at Storm's End and giving Gendry a good excuse to get new business cards.
Meanwhile, Jon is getting some solid backslaps for his dragon-riding skills. "What kind of man climbs on a fucking dragon? A mad man, or a king!" cries Tormund. Dany, just like every woman who's watched a male colleague get credit for their projects in the team all-hands meeting, rolls her eyes. But not for long, because let's not lie, she also wants to tap that.
Gendry has big hopes for a future with Arya, but Arya's got things to do.
Helen Sloan/HBOGendry has a sweet new last name and he wants to share it with the woman he loves. He bails up Arya, who's steered clear of all the drinking in her honor and is off working through her PTSD with a bow and arrow. After one night of prebattle passion, Gendry declares his undying love for Arya and proposes marriage (we've all definitely been on that Tinder date). But Arya is super-chill now, and pulls the classic Danny Zuko Grease move on Gendry and is all "sorry that hookup didn't mean we'd be together forever." Classic Arya.
"Any lady will be lucky to have you," she says. "But I'm not a lady, I never have been. That's not me."
Gendry is left to cry it out, quietly sobbing, "What happened to the Arya Stark I met at the beach?"
But tonight isn't just about relationships ending!
After admitting her armor still very much has its V-plates intact, Brienne leaves the party in the hall of Winterfell. But not before Jaime follows her out, ready to put on some of those sweet moves he's learned down south. (How someone can have so much game when they've only made out with their sister, I'll never know.) In Brienne's quarters, Jaime is ready to try his fake hand at wooing someone he didn't share a womb with. Crazy.
"I hate the North," he says, by way of a confused pickup line (see: picked up my last date at Family Games Night).
"It grows on you," Brienne replies, proving once and for all that the North is a grower, not a shower.
Speaking of... let's leave those two for now.
Daenerys has come by Jon's room for a booty call (booty raven?) and while they try to make out, Jon can't get that aunty taste out of his mouth. Dany isn't feeling it either ("I try to forget," she says, speaking the words that all of us Jon-and-Dany shippers constantly say to ourselves as we watch this show). Also, she's sad because power gets her motor running and no one in the North is bowing down to her like she wants. Except Jon, but... y'know. She tells Jon they can be together, but only if he swears to keep their Family Ties a secret.
"I owe them the truth," Jon says of his sisters.
"Even if it destroys us?" Dany replies.
As far as Daenerys sees it, Jon needs to bring his family in line behind Dany as the one true queen. Meanwhile Jon is no doubt yearning for the days when loving someone meant being shackled to them in a Wildling camp before having sex in a cave spa. Simpler times.
"You were a Targaryen all this time and you didn't tell us? You. BASTARD."
Helen Sloan/HBOIt's time for a reccy in the war room for actual postbattle talk, and Grey Worm doesn't have good news. The big battlefield mahjong table before us, we learn that half their armies are dead (let's remove those tiles from the game board) and Cersei's armies have been bolstered by mercenaries.
Jon pledges the Northern armies to Daenerys, and they will join the Dothraki and the bulk of the Unsullied to march on King's Landing (let's move those tiles on the game board, just so we all follow along and to give some visuals to this very talky scene). The rest of the crew will sail to Dragonstone (because the VFX team have already made the CGI renders of that castle and it would be a pity to waste them).
"We have won the great war," Daenerys says. "Now we will win the last war."
Despite this Churchillian call to arms, Arya and Sansa are still powerfully suss on Jon's new girlfriend. It's time for an intervention in the godswood.
Out by the weirwood tree, Jon reveals to his sisters that he has a big family secret. And in classic gutless fashion, he makes Bran tell it. But then we cut away and don't actually get to hear stone-faced Bran drop this mad gossip?! I was living for that!
Remember when Cersei gave Bronn of the Blackwater a crossbow and a price on her brothers' heads and Bronn was all, "That's convenient because I like money and killing people"? Well, it's payday!
Jaime and Tyrion are having a brotherly chat about conquests (Tyrion is so freaking thankful that he can finally do that without hearing about his naked sister) and Ser Bronn busts in. He's been paid to kill the brothers, but savvy Tyrion offers to double the offer, promising High Garden to Ser Bronn if he lets them live.
Having dodged that arrow, Tyrion meets Sansa on the battlements (fresh from her debrief on Jon's family tree). Tyrion tries to convince Sansa that Daenerys is the horse/dragon to back in this race and that she, Jon and the rest of the Starkgaryens should pledge to her.
"What if there's someone else? Someone better," she asks. Thanks, Sansa, you kept that secret for, like 12 minutes.
But don't worry, Tyrion already knew.
While Jon goes on his extended farewell tour of old friends in the courtyard of Winterfell ("See ya, Tormund! Take my beloved direwolf with you and I won't even PAT HIM GOODBYE!"), Tyrion and Varys plot.
They both know Jon's secret (so that's eight people all up who know), and as Varys puts it, "It's not a secret anymore. It's information."
There are a few options on the table and, like the puppetmasters they are, these two are going to nut it out. Varys reminds us that Jon has a better claim, and people are drawn to him as a war hero. Tyrion suggests they could marry Jon and Dany and have them rule together. "She's his AUNT!" as Varys rightly points out ("I try to forget"). And then there's the fact that Daenerys is not exactly good at sharing. But before we even get up to all that, we still need to take King's Landing. Speaking of...
Darnerys' dragons are truly her children, as we see again in episode 4 when tragedy strikes.
HBODaenerys' small fleet is sailing on Dragonstone when Euron Greyjoy emerges from behind some rocks (you're riding a dragon and you didn't see that, Dany?) -- with one quick strike, Euron dispatches his dragon-killing mega crossbow and shoots Rhaegal out of the sky.
That's it, folks! We're down to one dragon! (Considering it was the dragon Jon rode, the symbolism is powerful). And worse news, Euron is about to ignore the instructions on his Dragon Crossbow warranty and use it to smash some ships. Daenerys' fleet is obliterated, Missandei goes missing in the hubbub and the rest of the crew are washed up on the shores of Dragonstone, defeated.
What's this? Euron's back in Kings Landing? (Gone are the slow-travelin' days of season 3, folks!) Cersei is preparing to fight, and in classic supervillain form, she's filling her castle walls with innocent citizens of King's Landing to act as a human shield.
"When the war is won, the Lion shall rule the land, the Kraken shall rule the sea and our child shall one day rule them all," she tells Theon. Take your pink and blue helium balloons, chumps. THAT is the most badass birth reveal of the year.
Watch this: Game of Thrones Battle of Winterfell: We're still shaking
6:04
Back in Dragonstone, Varys already knows about Cersei's human shield plans, but that's not stopping Daenerys. She wants to win this game of Musical Knife Chairs and she doesn't care who she has to kill on the way. She's talked into a peace offering, but her wild eyes say she wants the throne more. Somebody get a copy of Cosmo, because if Dany did the "Which Game of Thrones character are you?" quiz, she's starting to look more and more like a Cersei.
With Dany out wandering the halls of Dragonstone somewhere, Varys and Tyrion have more time to play "Would you rather" over kings and queens.
Varys is pro Jon, because we all know Westeros is dude soup when it comes to choosing a rightful heir.
"I don't think a cock is a true qualification," says Tyrion.
"And he's the heir to the throne because he's a man, cocks are important I'm afraid," replies Varys with enough self-loathing to keep psychoanalysis undergrads watching this show for at least another two years. (Theon, meanwhile, sheds a tear in the afterlife.)
So that's it then. Dany won't share and Jon is rightful heir. So what happens to the mother of dragons? Varys' face tells us it won't end well for her. But Tyrion is still faithful to his badass boss. "Please. Don't," he says.
One of those tiny figures on the castle ramparts is Missandei.
HBOWe've well and truly cracked the hour mark now so I hope you didn't have a load of washing in the machine.
In Winterfell, Jaime is ruminating by the fire while Brienne sleeps in the background (Hollywood code for "They've set up shop in Bone Town"). But nek minnit, Brienne is awake and Jaime has bounced. Out in the yard, the pure and beautiful Brienne is about to get her heart broken and she is too sweet and kind and how could you?!
"You think I'm a good man," says Jaime, using Brienne as a surrogate for the entire Game of Thrones audience. "I pushed a boy out a window and crippled him for life, for Cersei. I strangled my cousin with my own hands just to get back to Cersei. I would have murdered every man woman and child in Riverrun for Cersei. She's hateful and so am I."
Don't worry Brienne, I'll bring some wine over when this ep is done.
And with that, we're off to see Her Hatefulness. Above the gates of King's Landing, Cersei has Missandei in shackles and a dozen of those dragon crossbows trained on Dany, Tyrion, Grey Worm and the rest of the slim-pickins Unsullied below (guys, the crossbow instructions very clearly state they are designed for dragons only).
Tyrion goes in to negotiate Cersei's surrender with Qyburn, Cersei's mad scientist. Neither one will budge, and so we all realize we're about to lose our last pure hope in this world as Missandei is given one last chance at final words.
With that, she growls the word "Dracarys" (which is High Valerian for "make dragon go now") before being beheaded by The Mountain.
If you thought The Mountain was Qyburn's monster, you'd be wrong. The real monster is the one wearing the crown.
Gayle King will be joined by Anthony Mason and Tony Dokoupil as co-hosts of "CBS This Morning," and Norah O'Donnell has been named anchor and managing editor of "CBS Evening News," CBS News announced Monday morning. O'Donnell will also be the lead anchor of political events for the network and continue as a contributing correspondent for "60 Minutes."
John Dickerson, currently a co-host in the morning, will shift roles to report for "60 Minutes" and contribute to election specials.
The staffing moves were announced by Susan Zirinsky, who was named president of CBS News in January and took over in March.
"This is a start of a new era for CBS News," said Zirinsky. "Our job is to reveal America to itself through original reporting, strong investigative journalism and powerful political coverage."
"CBS Evening News with Norah O'Donnell" begins this summer in New York and will move to Washington, D.C. this fall on a permanent basis.
"Norah is one of the leading journalists of our time," said Zirinsky. "Her outstanding reporting, incisive interviews and dedication to the truth will distinguish the 'CBS Evening News' every night."
CBS News said moving "CBS Evening News" to Washington "adds to the importance and stature of the broadcast and will give CBS News unique access to top lawmakers, whose decisions have a profound impact on all Americans."
Zirinsky noted the new "dynamic team" in the morning. "Gayle's game-changing interviews, compassionate storytelling and authenticity make her one of a kind. Her unrivaled ability to connect with audiences makes 'CBS This Morning' relevant, relatable and the place you must start your day. Anthony Mason is an exceptional journalist who over his three decades at CBS News has interviewed everyone from presidents to legendary artists and has tapped into some of the most important stories in the world. Tony Dokoupil is a brilliant writer with a passion for delivering stories that matter. This new role will give Tony a platform to continue his standout reporting. We're incredibly excited to have this dynamic team together each morning."
Dickerson will remain based in New York, and contribute to political coverage. "John is a world-class interviewer and writer who uses history to create current context to the complexities of the day," said Zirinsky. "His insights into politics, culture and world events – past and present – will deepen the audiences' understanding of what matters and will add to the excellence of 60 Minutes and CBS News' Election specials."
Zirinsky also said the network is discussing opportunities in New York for Jeff Glor, the current anchor of "CBS Evening News."
"We are grateful to Jeff Glor for his award-winning work and his commitment to both his colleagues and to our viewers. As we transition the Evening News to Washington, we are discussing opportunities for Jeff to remain with CBS News and continue providing the same substantive, trusted reporting that he has been offering for the past 12 years," Zirinsky said.
In April, Zirinsky appointed a new executive producer, Diana Miller, for "CBS This Morning." In February, Bill Owens was picked to lead "60 Minutes."
