I want to rant a bit again about Helaena in the books and how they are butchering her character in the show because it really pisses me off whenever I think about it.
To me, one of the biggest losses for Helaena's character, even bigger than B&C and the way they handled it, was the fact they cut off Helaena's intervention during the Council after Aegon's coronation. Because that meeting, as brief as it was, actually spoke a lot of Helaena's personality and of her relationship with Aegon too. It shows how she seriously took on her role as queen consort at the beginning, before the tragedy that happened to her. It shows how Aegon used to listen to her and probably trusted her advice. She supports Orwyle's idea and avocates for a non violent resolution of the matter.
And you know what else does this moment prove in the book? How Helaena was firmly team green! She was crowned, she supported Aegon's claim and the rights of her children (considering during B&C in the books she probably didn't name Jaehaerys because he was Aegon's first heir), and understood what they were doing was necessary for trying to assure their security, whatever they wanted it or not. Helaena supports Orwyle's idea that is that Rhaenyra accepts Aegon's government. So, if in season 3 they'll have Helaena bowing to Rhaenyra and becoming another of her cheerleader, I will be pissed off even more than I am now if it is possible.
And don't let me start about her strong bond with Dreamfyre and how, before Blood and Cheese, the Blacks themselves, ignoring the fact Aegon would have probably not let her fight, actually counted Helaena and Dreamfyre between the Greens' forces (to me, one of the reasons Daemon orchestrated B&C the way it was in the books was also to neutralise a dragonrider from the Green's side, probably expecting the effect such a horrific act would have had on Helaena).
They had the opportunity to do something very interesting with Helaena in the show, expanding the few things that are said in the books on her behalf. They could even had added the detail of her being a dreamer, making a better use of it and actually exploring it and maybe, for example, letting it be the reason why Helaena actually takes position in that Council, etc. They also could count on Phia who is a wonderful actress, but they are throwing it all away for the worst.
the talented mr. ripley, dir. anthony minghella (1999) // the complex art of murder: the talented mr. ripley, graham daseler // naples, italy, henri cartier-bresson.
First off, my preference with HOTD would have been to have a book-accurate adaption of Fire & Blood, and of Laena's role within the story. The typical response to that sentiment is of course "why can't you just accept the show on its own merits?" (those merits being increasingly dubious as of S2). In the spirit of doing so, I'd like to demonstrate how the bare minimum of effort could have been made to keep Laena an actual character in this high-budget fanfiction. And in doing so, hammer in how the failure to do even the bare minimum demonstrates the show's misogynoir.
For the sake of this post I am accepting the age changes, and I am accepting Alicent taking Laena's place as Rhaenyra's friend. I'll even accept the structure of the season, keeping events broadly the same even though this unfortunately continues to place Laena in the margins (again, we are talking about the bare minimum here). But within this limited framework there was still plenty of space to focus on Laena - and a narrative need to do so. For one, how the audience feels about Laena carries into how we feel about her daughters (assuming an alternate reality of course where the intention was to make Baela and Rhaena actual main characters - I will eventually do a follow up post for them).
For another, her story impacts how we feel about the succession of both Driftmark and the Iron Throne. She is the daughter of The Queen Who Never Was; by all the laws of Westeros, her mother is the rightful Queen (a daughter comes before a male cousin). Laena herself is a would-be queen consort, and her daughters are technically the rightful heirs to both Driftmark and the Iron Throne as Rhaenys' only biological grandchildren (so suck it Vaemond). When Vaemond put himself forward as heir over Laena's daughters, he was actually using the same precedent that was used to pass over Laena's mother.
Laena therefore plays a vital role beyond just being Rhaenyra's friend and Daemon's wife. Her wishes and agency with regards to the succession matters. She is the spurned queen consort and mother of two rightful heirs - who rides the largest dragon in the world. She is the one who solidifies the Targaryen-Velaryon alliance with Rhaenyra. Her loss really should have felt like a dramatic turning of the tides. And her legacy should have been felt after her death.
Episode 1
First off, I would like to make a point about how Laena is introduced (speaking as someone who knows fuck all about cinematography so... apologies in advance!). To preface, not every main character needs to have a big introduction in a pilot episode - the pilot has enough on its plate without having to introduce every single member of its large ensemble cast. It is fair enough to simply have a character appear and then get to know them later. But for the purposes of this post I want to explore where there was space for Laena, and how it could have been used.
In the show we first see Laena sitting next to her brother at the tourney. The camera doesn’t single them out or give us any reason to identify them as crucial characters yet. They are to the side and in the background of the shot. The audience can guess that these kids must be Rhaenys and Corlys’ children based on where they are sitting, but their focus is primarily drawn to Viserys addressing the crowd, and Alicent waiting for Rhaenyra in the front.
Later on in the tourney, we finally get brief cuts to close up shots of Laena and Laenor reacting to the violence, and of Laena grabbing her brother’s arm for support. This is a nice quick way to establish their sibling dynamic (little sister seeking comfort). But that’s all for this episode, and considering how the audience's attention is directed in their first appearance this brief cut is probably the first time many viewers noticed them. While watching this episode with my sister - who is a show-only viewer - she did ask me "wait who are these kids?" (she also missed that Rhaenys and Boremund Baratheon were cousins - a reason it would have been helpful for show-only viewers if Eve Best had her book-canon Baratheon hair).
Since we don't see Laena and Laenor again in this episode, it's fair to ask whether their first appearance could have been a bit more notable, signalling to the audience - especially show-only viewers - to remember them for later.
Compare to how we are introduced to other characters in this series opener - both key characters and minor.
As a main character, we get a clear view of Alicent coming down from the carriage to greet Rhaenyra, and the camera stays on and keeps Alicent in centre frame as we are introduced to her properly.
Harrold Westerling is a minor character - who we get to know more in this episode than we do Rhaenyra's cousins. We get a clear view of him waiting for Rhaenyra on his horse, and it doesn't take long for him to get a close up. We take the time to efficiently meet him and establish his dynamic with Rhaenyra as a protective kingsguard. From his prominence here I actually expected him to be a bigger character going forward.
We even get a fair bit of time to meet this anxious dragonkeeper, as he nervously takes his cue from his older, more experienced colleague. A good example about how a mere couple of seconds can be efficiently used to communicate a character and a relationship when the show chooses to take the time.
Again we don't need to establish every key character in this opening episode - it can be enough to quickly identify them and then meet them again properly in the next episode, as we do with Laena. There are a lot of characters who need introducing after all.
But considering the way we are introduced to other minor characters - from characters who will come back like Harrold Westerling, to characters we probably won't watch out for again like the anxious dragonkeeper - and again its fair to consider whether Laena and Laenor's introduction could have been a little more notable. Especially since Rhaenyra's relationship with the Velaryon family is important to establish. As the dragonkeeper demonstrates, a few seconds here and there is even enough - if you can devote that time to an extra, you can devote it to Laena.
At the very least, the episode could have found the spare seconds (if not whole ass minutes please - this is the barest of bare minimums) to establish a more frequent presence for Laena and Laenor. To signal to the audience that we should remember who these characters are, that they will be important going forward.
One opportunity to provide a more notable introduction is the scene where Rhaenyra and Alicent walk arm in arm through the castle. The atmosphere of this scene sets a 'happier more innocent times' tone ahead of the upcoming loss and tragedy. To add to this tone, the show could have had Rhaenyra and Alicent pass Laena and Laenor along the way, running and playing through the castle.
Maybe Rhaenyra could quickly sidestep her cousins to stop them running into her on her way up the stairs, maybe lift up her and Alicent's arms to let them run through while she and Alicent continue to be engrossed in their conversation. This would establish both a familiar and playful dynamic between Rhaenyra and her cousins, while not interrupting her moment with Alicent.
Alternatively, if we wanted to introduce Laena as a character in the pilot, we could add another scene of Rhaenyra and Alicent walking down the hallway before they arrive at Aemma's rooms. Laena and Laenor could be again running and playing in the hallway, only this time they could stop to quickly interact with their cousin, maybe pass on that her mother's looking for her. Laena could even stop to excitedly ask after Syrax before her brother pulls her away to keep playing.
Not only would this give us a clearer and endearing introduction to the characters - both characterising the siblings and establishing their dynamic - but it would more directly let the audience know 'remember these two, they are important'. Of course this new scene would add more to the episode runtime - so a more efficient option is to just have them playing in the existing scene without stopping for a hello.
Another efficient option is to have Rhaenyra quickly interact with her cousins as she hurries in late to the tourney.
It can be as quick as a grin between the cousins as Rhaenyra ducks her way to her seat, or Laena could giggle as her older cousin pulls an 'oops, I'm late' face. A deleted line from episode 5 informs us that Laena used to follow Rhaenyra around like a shadow, so showing Laena light up to see Rhaenyra here could be a sweet way to depict this side of their relationship.
Above all, it would be a chance to give a clearer and longer shot of the two siblings rather than just a brief cut to them, letting them be in the centre of the frame and bringing them more firmly to our attention. Then by the time we cut to them reacting to the violence of the tourney, we already know who they are.
The interaction could meanwhile take advantage of the staging to visually emphasise Alicent's isolation among the Valyrians, with Alicent waiting in her seat on her side of the stage while Rhaenyra is on the other side with her family. Again I would rather a book-accurate telling of the Dance, and as such I have little regard for Rhaenycent or the Saga of Alicent the Eternal Victim. But in the spirit of this post, I will pepper in examples of how expanding Laena's role could have mutually benefitted the story this fanfiction wanted to tell... while slipping in a core trait of Book Alicent - jealousy towards children ;)
Finally, we could simply have the cousins be present at Aemma's funeral - we get a clear shot of their parents among the mourners after all.
To go further, there is an opportunity to add in another moment between Rhaenyra and her cousins.
On the one hand, I do like how the funeral scene ends, with this shot here of Rhaenyra turning away from her mother's cremation as the smoke fills the screen. It's a shot that makes Rhaenyra feel very alone, which emotionally is important to prioritise for this episode. The scene is after all partly about Rhaenyra's relationship with her father, specifically her grief at not being the son he wanted, and so ending the scene on Rhaenyra alone arguably makes it more impactful later in the episode when her father makes her his heir.
However it could have also been impactful to set up a parallel with the funeral in episode 7, where Rhaenyra nudges Jacaerys to offer his condolences to Baela and Rhaena. Rhaenys could likewise nudge her children to go and offer comfort to Rhaenyra, and Laena could comfortingly take her hand. Then when Baela and Jace take hands, we'd have a sense of a bond getting passed down through the generations.
Taking time to depict this bond would make the viewer less inclined to ask for receipts when Rhaenys claims in episode 5 that Rhaenyra and her cousins grew up together. Meanwhile Laena's death is of course sadder the more we see of her, and the more we see her relationships with the characters we spend more time getting to know (like Rhaenyra).
It would also provide a foundation for Rhaenyra's relationship with her stepdaughters - the more we see that their mother was important to Rhaenyra the more layers are automatically added to her interactions with them.
I think at least some of these moments could have been easily slotted into existing scenes, and that any added screentime would have been worth it. The legwork provided by these moments importantly give the writers an easier task writing these characters in later episodes. You don't need potentially clunky exposition like 'they grew up together' or 'Laena used to follow you around like a shadow'.
Besides, as a viewer we are always going to be more emotionally moved and invested in what we see, rather than what we hear exposited to us.
Episode 2
A running theme throughout the first half of the season is the systemic sexual abuse of girls within the feudal patriarchy that is Childbrideros, and this episode sees both Laena and Alicent served up as child brides by their parents. First off, I already really like the scene of Laena and Viserys walking through the gardens. It does a good job first establishing her obsession with Vhagar, and above all emphasising how young Laena is. It's extremely disturbing, and props to the actress here because you can see actual terror in Laena's eyes as she repeats what she's been taught to say.
Honestly I think Nova Foueillis-Mosé was criminally underused.
Again, this scene is already incredibly effective on its own. But consider how the additions to the previous episode could have done some extra legwork for this scene. How much more disturbing is this already disturbing scene if we’d just watched Laena running innocently around the Red Keep, playing with her brother? If we'd just seen her being a sweet little sister with Rhaenyra? It’s the difference between getting to know a character from a disturbing scene, and witnessing a disturbing scene with a character we’ve already gotten to know.
Now this is a bit of a tangent, but relevant to setting up Laena's role in the story while adding to the themes of the episode. I would have made some changes to Rhaenyra’s interaction with Rhaenys*, as they watch Laena and Viserys from above. When Rhaenyra asks Rhaenys if she is ok with this, Rhaenys could inform the audience that Rhaenyra’s own mother Aemma was the same age as Laena when the Old King arranged her marriage to Viserys. And before her Rhaenyra’s grandmother Daella was such a delicate young girl when she was married to Lord Rodrik Arryn - seven-and-ten yet, by all accounts, barely out of childhood.
*again, for the sake of this post I am broadly accepting the show's depiction of Rhaenys and her hostile relationship with Rhaenrya.
This would emphasize the systemic generational abuse and trauma of Targaryen girls that Rhaenyra fears, and give the audience a clearer idea of Old King Jaehaerys. I hated the little joke Lyonel makes about the trouble Jaehaerys had with his daughters – not because this isn’t the kind of joke people would have made, but because this is all the audience gets to learn about Jaehaerys and his daughters.
I would also take this opportunity to make clear to the audience what exactly happened in the Great Council at Harrenhall. As the show depicts it, the audience would think Rhaenys had put her name forward against tradition. As I said above, tradition actually dictated that a daughter comes before an uncle, and certainly before a male cousin. The Lords weren’t voting in favour of tradition – they were given the chance by Jaehaerys (who sought to retroactively legitimise his own claim to the throne - his older brother's daughters rightfully came before him) to ignore tradition and let their misogyny pick.
Some of this information could have been delivered during the opening prologue at the Great Council. But there is also space to inform the audience here, by having Rhaenys bitterly recount how she was passed over. Her father was the Old King’s firstborn, by all laws and customs of the Andals and the First Men she was the heir. A daughter comes before an uncle, and certainly before a cousin.
This addition would achieve three things.
Clarify the injustice done to Rhaenys, and the hypocrisy of the Greens’ appeals to custom and tradition.
Emphasise the stakes against Rhaenyra – all law and precedent was on Rhaenys’ side and it still wasn’t enough. Meanwhile her own situation is an entirely radical one.
Make it clear that Vaemond is absolutely not the heir to Driftmark when Laena's daughters come before him, therefore laying the groundwork for later episodes.
In terms of adding screentime to Laena (and Laenor), there is in opportunity in the scene where Rhaenyra picks out the new Kingsguard
Since Rhaenys is watching from the gallery anyway (she sure does like lurking in galleries), her children can also be present. They could be watching excitedly at the knights assorted below, perhaps even interact with Rhaenyra as she playfully asks for their advice. There could be a horrible moment of dramatic irony in which Laenor voices his approval of Rhaenyra picking Ser Criston Cole on the basis of combat experience.
I would end the scene with a moment of Laena lingering on the balcony, and noticing Otto Hightower watching her. This little girl is his daughter’s competition. The uneasy moment passes and she runs off to join her brother.
This would also be fitting as the following scene is of Alicent visiting Viserys and pretending to be interested in his models (directly followed by a scene of her listening to Rhaenyra's fears of getting displaced as heir and telling her not to worry... but sure Rhaenyra owed Alicent her sexual history! 😂). It would add a disturbing thematic throughline in the scene transition - from one potential child bride to another.
Episode 3
We meet teenage Laenor in this episode, so let us also meet teenage Laena and include the cut scene of her claiming Vhagar to end the episode. There is an opportunity to visually parallel Laena and Aemond’s claiming of Vhagar – but for the purposes of this post I’m going to assume budget is an issue.
With this in mind, there are ways around the budget. We could have a scene of Laena walking uphill, and looking down to see Vhagar asleep on the beach below. The camera closes in on a look of determination on her face as the scene cuts to black and the credits roll. Alternatively, assuming an even tighter budget, Laena could be hiking and searching for Vhagar and simply hear a roar in the distance. Maybe she could smile as a shadow flies overhead.
One impact of including this moment would be to make the audience partially associate Vhagar with Laena, therefore making them more sympathetic to Rhaena’s emotional claim. I don’t have patience for the whole “this entitled little black girl thinks she’s entitled to a dragon – dragons aren’t inherited they choose their rider – someone tell this idiot little black girl that a dragon ain’t no slave”. I don’t give a shit who is correct about the fictional science of dragon-taming – I care about a little girl feeling an emotional connection to her dead mother’s dragon.
Moreover, in cutting the scene of Laena claiming Vhagar I think the writers have misunderstood the importance of both this moment and the character. I think they assumed that since Laena dies early we don’t need to spend time with her (even though, again, how we feel about Laena carries into how we feel about her daughters and the succession of Driftmark).
But remember that before Laena claims Vhagar in the show, the ancient dragon is living wild and unclaimed. Rather than leaving Vhagar in the wild, in claiming her Laena brings her into the dance. In the context of the show, Laena's connection to Vhagar is what makes the act of Aemond then claiming her become a cause for conflict between the kids (the conflict between the kids in the book meanwhile was not about Vhagar, but Aemond just being a bully).
There is also another consequence of Laena claiming Vhagar…
Episode 4
Unfortunately there are no Velaryons in episode 4 and few chances to insert them, but there is a way to make their offscreen presence felt and felt hard. Namely, have the Small Council react to the fact that Laena has just claimed fucking Vhagar. Set up just how terrifying it is to not have Vhagar on your side (especially for the benefit of show-only fans). The largest dragon alive, the last of the conqueror’s dragons...
...Claimed by Laena, who just got passed over as Queen Consort. Laena, whose children have a claim to the Iron Throne. The Velaryons, who have been insulted twice over, now have Vhagar.
That is a political headache indeed. All the more important now that Rhaenyra marries Laenor. House Velaryon needs to be brought into the fold. If you're struggling for space in Episode 3 then Laena claiming Vhagar could even be the opening of Episode 4 - the event that sets into motion Viserys' political headache and Rhaenyra's marriage.
I mean, we already have the scene of the small council reacting to Corlys replacing the Crabfeeder as the power in the Stepstones, and Otto delivering the news that Corlys is in negotiations with the sealord of Braavos to marry Laena to the sealords' son. Since we're discussing the implications of House Velaryon entering an alliance with the Free Cities, is it just possibly a teensy weensy bit relevant to mention that Laena rides Vhagar?
Episode 5
First change to this episode isn’t strictly about Laena, but it is about Daemon as a husband, which informs our understanding of his relationship with both Laena and Rhaenyra.
Basically - divorce rock is fucking dumb. Book purism aside (sorry Conman, but Book Daemon had a solid alibi), it demonises an already dark character, who already has plenty of flaws without adding bashing his wife’s head in with a rock. The show doesn’t even fully commit to it, since it doesn’t tell us what exactly Daemon was planning to do before the horse threw Rhea off its back – ask for an annulment? Kill her a different way? Yes it gives us the chance to meet Rhea Royce – and she is iconic – but the cost is stupid and avoidable and damaging to Daemon’s character.
This isn’t to whitewash Daemon – but to stress that just because he is a dark character it doesn’t mean that every possible evil act is on the writer’s table. Yes, I know, this is the guy who sent two assassins to kill a child (unless you subscribe to the theory that Book Mysaria - bitter at losing her own child - had her own interpretation of 'son for a son') – however, he's not the guy who killed the child himself.
Is there a moral difference? I ultimately don't think so, but there is a fascinating psychological difference. Compare to Aemond, who personally beheads the children of House Strong, who murders a fleeing Lucerys in cold blood. Assuming an interpretation of Daemon in which it is him and not Mysaria who orders Blood and Cheese - how much is this Daemon actually willing to get his hands dirty with cowardly tasks? To whom is he willing to commit what evil acts, and how? Does he reconcile his self-image this way, “I’m not the one who killed the kid, it was an assassin”? “I’m not the one who killed Laenor, it was an assassin?”
Because that’s Daemon’s MO*, from Qarl Correy to Blood and Cheese. If he had anything to do with Rhea’s death in the book, it was through an assassin (and again, I think Daemon was a bit preoccupied with, you know, fighting in the stepstones - sometimes people just fall off their horse).
*again, for the sake of argument, assuming it was him
But that wouldn’t have given us the opportunity to see him and Rhea Royce interacting. So between that, and in the spirit of keeping the events of the episode broadly intact, I would have Daemon simply walk away after Rhea hits her head on the ground, the word ‘coward’ ringing in his ears. We don’t know what he planned to do, if he would have gone through with it – what we do know is that in this moment he wants the outcome but doesn’t want to actually be the one to do it. Rhea Royce isn’t a worthy opponent. Jaehaerys isn’t a worthy opponent.
This sets us up better for his relationship with his next wives. Daemon is capable of dark and violent acts, but he isn't the sort of person to bash his wife's head in with a rock. We can see his tenderness and genuine love for Laena without thinking 'does he merely see her as an obstacle between him and Rhaenyra?'
Getting past the Daemon tangent
In this episode we have a nice scene of Rhaenyra and Laenor negotiating the terms of their marriage. But when it comes to Laena we only get a brief snatch of her friendship with Rhaenyra. And there were plenty of opportunities to see more of that friendship, and of Laena.
Upon their arrival at Driftmark, we could firstly establish more of a presence for teenage Laena as she greets them. Let the camera give her a close up, making eye contact first with Viserys, then with Rhaenyra. In that close up, let the audience see that Laena knows her claiming Vhagar is part of the reason they are here, and she is enjoying it a bit. Aside from giving Laena the respect she deserves, this would establish to the audience just how powerful it is politically to be the rider of Vhagar - adding to the stakes when Aemond later claims her.
Next, I found the bit where both girls are unceremoniously barred from the throne room... very odd and thematically on the nose. We get it, women are barred from making decisions about their own lives etc etc... but we are talking about the crown princess and the rider of Vhagar... and Rhaenys is going to be in the room anyway. Also it's a tad insulting on Viserys' part to order his Kingsguard to bar Corlys' Velaryon's daughter from a room in her own home. Kind of a diplomatic whoopsie.
It would have made more sense if the crown princess and the rider of Vhagar were at least initially both in the room, then perhaps sent away while the adults talk business. We could have even had a little power play by the Velaryons - Laena can offer to escort them to meet her father and take the lead, positioning herself to be walking by the King's side instead of Lyonel. A subtle dig by the Velaryons, to remind Viserys that he passed over Laena as his consort and now he owes them. Bonus points if Laena smiles back at Rhaenyra and Rhaenyra looks amused by the situation (and slowly realising that she might be a little bit attracted to Laena...).
Next up... Rhaenyra and Laenor having an unsupervised walk on the beach? In a world obsessed with premarital virginity? After last episode? It just makes sense to have Laena and Ser Joffrey walking a bit behind them as chaperones. Then while Laenor has his moment with Joffrey in the dunes, Laena and Rhaenyra can continue walking along the beach together. Again, in showing their bond we build a foundation for their alliance over Driftmark and for Rhaenyra’s relationship with her stepdaughters.
The two of them can talk about how they’ll be good-sisters soon, and how now they can finally go flying together, something Laena wanted to do since she was a dragon-obsessed little girl following her older cousin around like a shadow. Before they moved back to Driftmark she used to hope that once Syrax was big enough Rhaenyra would take her for a ride.
We can use this moment to explore the more positive side of the Targaryen’s relationship to the dragons. Yes they can be death and destruction and hubris and arrogance and untameable nature. But they are also a wonder, they are liberty, they are seeing the world as no one else can see. To women in particular, they can be a means of power and agency that they otherwise wouldn't have.
Laena could even note this - she could make a reference to how her claiming of Vhagar has brought about Rhaenyra's betrothal to her brother. Laena has made it so she and her family can't be ignored.
Showing this political awareness by Laena, and at least some kinship between her and Rhaenyra, is important. Because Laena sees the influence she currently holds, and she recognises the implications of how she uses it. They could discuss the sudden flood of suitors flocking Laena's way, and Rhaenyra can admit that Laena's marriage is a source of anxiety to the royal council. They could even joke that Otto must be scratching his head in Oldtown, trying to calculate whether he could successfully offer Gwayne as a suitor, get himself another grandchild with a claim to the Iron Throne.
The implications are clear - you want Laena (and her future children) on your side. And Laena, recognising the impact of the Great Council for female succession, both feels a kinship with Rhaenyra and recognises the long game in supporting her sister-in-law. This will nicely contrast her with Alicent's actions in this episode - where she makes a bold stand in favour of the patriarchy to lash out at Rhaenyra for having premarital sex.
Now, I have mixed feelings about stopping short of having Laena and Rhaenyra discuss (or hint at) betrothals between their future children.
On the one hand, it is critical that this was Laena's wish. Her agency in solidifying the Targaryen-Velaryon alliance, in choosing to help her brother and her friend, in finding a way to one-up her greedy uncle Vaemond and secure Driftmark and the Iron Throne for her daughters - this is non-negotiable to me.
But the purpose of this exercise was to outline how the show's version of events could have still made space for Laena. And the show's version of events places the betrothal of Rhaenyra and Laena's children as the resolution to the conflict of Episode 8 - after Laena is dead. Plus for these versions of the characters, it is important that Rhaenyra offers a betrothal to Alicent. At this point, where they are, to Rhaenyra's knowledge, still friends, she is likely thinking about doing so already. Plus it's not as though Rhaenyra planned from the outset to not have Laenor's children, which increases the strategic necessity of a betrothal with Laena's children.
As a compromise, it is therefore important to at least make clear that Laena would have backed the betrothal. That aside from loving and accepting her brother and the fact that he loved his adopted kids, Laena did support Rhaenyra as queen, and was politically-minded enough to calculate that this alliance was both in their mutual interests and a great big Fuck You to the Grand Council.
Her 'girlbossery' is in politics, not self-immolation.
Now onto the Wedding
First off, give Laena some damn close-ups - remind the audience again of her influence in the marriage. Put her in pride of place even, another subtle dig by the Velaryons. Why stick her in the corner when her brother could be escorting her on his arm? Here is the dragon-riding woman who would have been Queen... look how stunningly gorgeous she is.
On that note, Laena Velaryon Rider of Vhagar certainly should have suitors flocking to dance with her, there's no need for her to be stuck at the table with uncle Vaemond for as long as she is in the episode. Yes she makes eyes at Daemon across the table... but she can just as easily do that from the dance floor. Again, surrounded by suitors, maybe a certain Braavosi guest could try his luck... before Daemon swoops in.
There are also plenty of moments for Laena and Rhaenyra to interact. The camera could show them smiling in greeting at each other, maybe passing each other during the dancing, maybe throw in a bit of sapphic subtext ;)
The camera could also cut to Alicent watching them from the table – she is replaced by the girl who escaped her fate, and who shares dragonriding with Rhaenyra. There are part of a world that Alicent can never join (or rather would never, Rhaenyra did offer her the chance to fly together), and have a means of freedom within the patriarchy that she will never know (that she turned down – her friend was right there, she could have asked her for help...)
Finally, in the episode we get a brief shot of Laena looking anxiously for her brother in the crowd during the chaos. It would take a mere couple of seconds to add Laena rushing to her brother’s side as he sobs over Joffrey’s mutilated body, to show her holding her brother close. This will build on the bond we saw in episode 1 – where Laena seeks her brother’s comfort during the tourney – and make Laenor's grief at losing his sister hit harder later.
Like, here we have Laena trying to push through a crowd to get to her brother... followed by a dispersed crowd with no Laena in sight. What gives?
We could also, you know, have Laena present during the actual wedding ceremony perhaps? Where is she??? That's her grieving brother getting married. Even Alicent is there (presumably just before running off to recruit Crispy and get him off for murder).
Episode 6
Unfortunately, in order to stick to the confines of the way this season is structured, we have to stay in Pentos on Daemon and Laena's inexplicably long honeymoon. Episode 6 needs to have Rhaenyra without the support of having Daemon and Laena nearby, so they can't be back at Driftmark as they are in the book.
In the book, this is the pre-Red Spring period where Rhaenyra has come into her own and is relatively thriving - Otto is in Oldtown, Lyonel is Hand, she has Harwin, she has Laenor happily claiming their children as his heirs, she has Laena (and with her, Vhagar), and yes she has Daemon. Until the Red Spring kicks into gear and she starts losing everything but Daemon - she loses Laenor, Laena, Harwin, she is ordered away from court, and Otto is back as Hand.
Since we've lost Rhaenyra's childhood of being bullied by her stepmother, this episode can no longer be the high-point before the Red Spring - it has to compensate by reversing things to make adult Rhaenyra isolated and humiliated in her own home (again, as book Rhaenyra was in childhood). Episode 7 then concerns Rhaenyra's reunion with Daemon, which necessitates placing him on a different continent in Episode 6 (butterfly effects include Laenor having to 'die' after his own funeral, while Harwin now dies before the funeral - Daemon can't be a suspect in Laenor's murder if he's on a separate continent, so the deaths must be swapped around).
Which is a bit of a mess, because Episode 5 implies Daemon starts courting Laena at least partly out of ambition - she rides Vhagar, their children have a claim to both Driftmark and the Iron Throne etc. The show goes as far as to open Episode 5 with Daemon murdering his first wife with a rock- why is he now wasting a powerful marriage by hiding in Pentos? Where did this come from? The episode does admittedly have Laena say this isn't the Daemon she married... but it doesn't properly explain how or why this came to be.
One suggestion is that he is moping over not being married to Rhaenyra and dissatisfied with Laena as a replacement. And er... he was literally courting Laena at the wedding? Yes I know he and Rhaenyra were flirting with each other, but they were both fully aware it was not happening. Again, he was literally courting Laena - signalling he wasn't about to petition Viserys to cancel Rhaenyra's wedding having now freed himself from his first wife.
Even if you want to insult Laena like this, how is it in character for him to mope on Pentos when they can do that from Driftmark? Is he trying to go cold turkey from Rhaenyra? Does that really override his ambition, his love for his brother, his hatred of the greens etc? Book purism aside, is it really consistent with his actions in episode 5 - which include murdering his first wife and courting Laena the Rider of Vhagar.
The other suggestion is that he is upset that his brother doesn't want him around. Which again isn't really consistent with his actions in episode 5 - which include him immediately ignoring the fact that Viserys had banished him, swaggering into the wedding, and easily getting away with it, even flirting with Rhaenyra in front of his brother.
So we have to reconcile the Doylist need to separate Daemon and Laena from Rhaenyra, while maintaining character consistency.
If we have to keep them in Pentos, we could tie it in with the Triarchy somehow? Have Daemon and Laena securing diplomatic relations with Pentos, to ensure an alliance against the Three Daughters possibly rising again, perhaps even at Viserys' behest? And maybe Daemon read this as getting banished by his brother one time too many, so he's prolonging their trip because he's upset his brother doesn't want him around? After all the last time Daemon was dealing with his brother's rejection he threw himself into fighting the Triarchy - so it would be consistent.
It would also be a further mention of the Triarchy in this episode, connecting to Rhaenyra's suggestion of military installations in the stepstones, and better set up their return during the Battle of the Gullet. Then instead of performing for the Prince of Pentos, Laena and Daemon could be intimidating a representative from Tyrosh, Lys or Myr.
Daemon aside, we could at least have Laena explicitly bristle at being taken away from the political action at home.
I mean, couldn't the writers have had Laena talk about literally anything other than wanting to die a dragonrider’s death? The entire self-immolation shtick is such a gross and stupid attempt at girlbossifying her death, and puts Laena into the position of selfishly traumatizing her daughters (not that the show does much with this trauma).
The biggest and most obvious change is of course to stick to Laena’s death in the books, as it is so much more tender and emotionally moving. After half a season of establishing her love of dragons and flying, Laena tries to fly Vhagar one last time but collapses. Daemon gently carries a sobbing Laena back to bed.
Her last moments can therefore be spent with her daughters. Maybe she passes on a legacy to them, some final words that they take with them into the dance. Or maybe her final moments are a lot less comforting, maybe she continues to cry for Daemon to carry her back to Vhagar. Maybe her daughters get to say goodbye, maybe one of them runs away, unable to face her mother’s final moments. Anything to say goodbye to the character, and to begin Rhaena and Baela’s journey, that isn’t just the shock value of a ‘girlboss’ burning herself alive.
Back to Laena talking about literally anything else.
In her conversations with Daemon, I would again establish Laena’s position on the succession of Driftmark, and her support of Rhaenyra. As she’s telling Daemon that she wants to go home, she could perhaps say that Laenor’s letters worry her. He doesn't say it outright, but she can tell he is scared for his sons. Maybe she can say that she knows her uncle Vaemond. His eye is on Driftmark*. Which puts those boys in danger. She can then tell Daemon that her brother needs them, that Rhaenyra needs them. That they need to go home. That she wants to go home. That she doesn't want to be hiding away in Pentos while the future of female succession in Westeros is being decided. She is the rider of Vhagar with a claim to the throne - she has power and she wants to use it.
She could even give Daemon an ultimatum: once the baby is born I'm hopping on Vhagar and bringing my children back to Westeros with or without you. Give us a sense of what could have been if she had only lived.
*if we could only have the action take place on Driftmark, we could replace the scenes of the Prince of Pentos or Laena's dreams of self-immolation with... Laena interacting with Vaemond. He could be making snarky comments about her brother and his children, with Laena coolly daring him to tell her what he's implying. He could even try to hint at a betrothal with Baela, seeking a way to claim Driftmark through her. Laena, seeing through his bullshit and reminded of her own near brush with child marriage, tries to conceal her anger as she smoothly refuses his proposal. She could even hint she already has someone in mind for Baela. (I actually want this so badly I would contrive to have an unwelcome Vaemond turn up in Pentos for this exact purpose).
Unfortunately if we accept the changes to the show then, again, Laena can’t be the one to actually arrange the betrothal between her daughters and Rhaenyra's sons like she does in the book. The show has structured things so the betrothal does not happen until the end of episode 8, long after Laena is dead. The tension of episode 8 revolves around the question of salvaging the Targaryen-Velaryon alliance.
But, again, to compensate we can make Laena’s wishes clear. We can establish beyond a doubt that she would have approved of the betrothal. We can, you know, not erase the voice of a black woman while whitewashing the man who tried to usurp her daughters. We can do the bare minimum to not sideline one of the few black women in fantasy we have.
We can say goodbye to Laena not as a self-immolating girlboss, but as a politically-astute woman who loved the freedom of flying, who fought for her family, who left a legacy for her daughters. A woman who would have changed the entire history of Westeros if childbirth hadn't taken her away.
First off, my preference with HOTD would have been to have a book-accurate adaption of Fire & Blood, and of Laena's role within the story. The typical response to that sentiment is of course "why can't you just accept the show on its own merits?" (those merits being increasingly dubious as of S2). In the spirit of doing so, I'd like to demonstrate how the bare minimum of effort could have been made to keep Laena an actual character in this high-budget fanfiction. And in doing so, hammer in how the failure to do even the bare minimum demonstrates the show's misogynoir.
For the sake of this post I am accepting the age changes, and I am accepting Alicent taking Laena's place as Rhaenyra's friend. I'll even accept the structure of the season, keeping events broadly the same even though this unfortunately continues to place Laena in the margins (again, we are talking about the bare minimum here). But within this limited framework there was still plenty of space to focus on Laena - and a narrative need to do so. For one, how the audience feels about Laena carries into how we feel about her daughters (assuming an alternate reality of course where the intention was to make Baela and Rhaena actual main characters - I will eventually do a follow up post for them).
For another, her story impacts how we feel about the succession of both Driftmark and the Iron Throne. She is the daughter of The Queen Who Never Was; by all the laws of Westeros, her mother is the rightful Queen (a daughter comes before a male cousin). Laena herself is a would-be queen consort, and her daughters are technically the rightful heirs to both Driftmark and the Iron Throne as Rhaenys' only biological grandchildren (so suck it Vaemond). When Vaemond put himself forward as heir over Laena's daughters, he was actually using the same precedent that was used to pass over Laena's mother.
Laena therefore plays a vital role beyond just being Rhaenyra's friend and Daemon's wife. Her wishes and agency with regards to the succession matters. She is the spurned queen consort and mother of two rightful heirs - who rides the largest dragon in the world. She is the one who solidifies the Targaryen-Velaryon alliance with Rhaenyra. Her loss really should have felt like a dramatic turning of the tides. And her legacy should have been felt after her death.
Episode 1
First off, I would like to make a point about how Laena is introduced (speaking as someone who knows fuck all about cinematography so... apologies in advance!). To preface, not every main character needs to have a big introduction in a pilot episode - the pilot has enough on its plate without having to introduce every single member of its large ensemble cast. It is fair enough to simply have a character appear and then get to know them later. But for the purposes of this post I want to explore where there was space for Laena, and how it could have been used.
In the show we first see Laena sitting next to her brother at the tourney. The camera doesn’t single them out or give us any reason to identify them as crucial characters yet. They are to the side and in the background of the shot. The audience can guess that these kids must be Rhaenys and Corlys’ children based on where they are sitting, but their focus is primarily drawn to Viserys addressing the crowd, and Alicent waiting for Rhaenyra in the front.
Later on in the tourney, we finally get brief cuts to close up shots of Laena and Laenor reacting to the violence, and of Laena grabbing her brother’s arm for support. This is a nice quick way to establish their sibling dynamic (little sister seeking comfort). But that’s all for this episode, and considering how the audience's attention is directed in their first appearance this brief cut is probably the first time many viewers noticed them. While watching this episode with my sister - who is a show-only viewer - she did ask me "wait who are these kids?" (she also missed that Rhaenys and Boremund Baratheon were cousins - a reason it would have been helpful for show-only viewers if Eve Best had her book-canon Baratheon hair).
Since we don't see Laena and Laenor again in this episode, it's fair to ask whether their first appearance could have been a bit more notable, signalling to the audience - especially show-only viewers - to remember them for later.
Compare to how we are introduced to other characters in this series opener - both key characters and minor.
As a main character, we get a clear view of Alicent coming down from the carriage to greet Rhaenyra, and the camera stays on and keeps Alicent in centre frame as we are introduced to her properly.
Harrold Westerling is a minor character - who we get to know more in this episode than we do Rhaenyra's cousins. We get a clear view of him waiting for Rhaenyra on his horse, and it doesn't take long for him to get a close up. We take the time to efficiently meet him and establish his dynamic with Rhaenyra as a protective kingsguard. From his prominence here I actually expected him to be a bigger character going forward.
We even get a fair bit of time to meet this anxious dragonkeeper, as he nervously takes his cue from his older, more experienced colleague. A good example about how a mere couple of seconds can be efficiently used to communicate a character and a relationship when the show chooses to take the time.
Again we don't need to establish every key character in this opening episode - it can be enough to quickly identify them and then meet them again properly in the next episode, as we do with Laena. There are a lot of characters who need introducing after all.
But considering the way we are introduced to other minor characters - from characters who will come back like Harrold Westerling, to characters we probably won't watch out for again like the anxious dragonkeeper - and again its fair to consider whether Laena and Laenor's introduction could have been a little more notable. Especially since Rhaenyra's relationship with the Velaryon family is important to establish. As the dragonkeeper demonstrates, a few seconds here and there is even enough - if you can devote that time to an extra, you can devote it to Laena.
At the very least, the episode could have found the spare seconds (if not whole ass minutes please - this is the barest of bare minimums) to establish a more frequent presence for Laena and Laenor. To signal to the audience that we should remember who these characters are, that they will be important going forward.
One opportunity to provide a more notable introduction is the scene where Rhaenyra and Alicent walk arm in arm through the castle. The atmosphere of this scene sets a 'happier more innocent times' tone ahead of the upcoming loss and tragedy. To add to this tone, the show could have had Rhaenyra and Alicent pass Laena and Laenor along the way, running and playing through the castle.
Maybe Rhaenyra could quickly sidestep her cousins to stop them running into her on her way up the stairs, maybe lift up her and Alicent's arms to let them run through while she and Alicent continue to be engrossed in their conversation. This would establish both a familiar and playful dynamic between Rhaenyra and her cousins, while not interrupting her moment with Alicent.
Alternatively, if we wanted to introduce Laena as a character in the pilot, we could add another scene of Rhaenyra and Alicent walking down the hallway before they arrive at Aemma's rooms. Laena and Laenor could be again running and playing in the hallway, only this time they could stop to quickly interact with their cousin, maybe pass on that her mother's looking for her. Laena could even stop to excitedly ask after Syrax before her brother pulls her away to keep playing.
Not only would this give us a clearer and endearing introduction to the characters - both characterising the siblings and establishing their dynamic - but it would more directly let the audience know 'remember these two, they are important'. Of course this new scene would add more to the episode runtime - so a more efficient option is to just have them playing in the existing scene without stopping for a hello.
Another efficient option is to have Rhaenyra quickly interact with her cousins as she hurries in late to the tourney.
It can be as quick as a grin between the cousins as Rhaenyra ducks her way to her seat, or Laena could giggle as her older cousin pulls an 'oops, I'm late' face. A deleted line from episode 5 informs us that Laena used to follow Rhaenyra around like a shadow, so showing Laena light up to see Rhaenyra here could be a sweet way to depict this side of their relationship.
Above all, it would be a chance to give a clearer and longer shot of the two siblings rather than just a brief cut to them, letting them be in the centre of the frame and bringing them more firmly to our attention. Then by the time we cut to them reacting to the violence of the tourney, we already know who they are.
The interaction could meanwhile take advantage of the staging to visually emphasise Alicent's isolation among the Valyrians, with Alicent waiting in her seat on her side of the stage while Rhaenyra is on the other side with her family. Again I would rather a book-accurate telling of the Dance, and as such I have little regard for Rhaenycent or the Saga of Alicent the Eternal Victim. But in the spirit of this post, I will pepper in examples of how expanding Laena's role could have mutually benefitted the story this fanfiction wanted to tell... while slipping in a core trait of Book Alicent - jealousy towards children ;)
Finally, we could simply have the cousins be present at Aemma's funeral - we get a clear shot of their parents among the mourners after all.
To go further, there is an opportunity to add in another moment between Rhaenyra and her cousins.
On the one hand, I do like how the funeral scene ends, with this shot here of Rhaenyra turning away from her mother's cremation as the smoke fills the screen. It's a shot that makes Rhaenyra feel very alone, which emotionally is important to prioritise for this episode. The scene is after all partly about Rhaenyra's relationship with her father, specifically her grief at not being the son he wanted, and so ending the scene on Rhaenyra alone arguably makes it more impactful later in the episode when her father makes her his heir.
However it could have also been impactful to set up a parallel with the funeral in episode 7, where Rhaenyra nudges Jacaerys to offer his condolences to Baela and Rhaena. Rhaenys could likewise nudge her children to go and offer comfort to Rhaenyra, and Laena could comfortingly take her hand. Then when Baela and Jace take hands, we'd have a sense of a bond getting passed down through the generations.
Taking time to depict this bond would make the viewer less inclined to ask for receipts when Rhaenys claims in episode 5 that Rhaenyra and her cousins grew up together. Meanwhile Laena's death is of course sadder the more we see of her, and the more we see her relationships with the characters we spend more time getting to know (like Rhaenyra).
It would also provide a foundation for Rhaenyra's relationship with her stepdaughters - the more we see that their mother was important to Rhaenyra the more layers are automatically added to her interactions with them.
I think at least some of these moments could have been easily slotted into existing scenes, and that any added screentime would have been worth it. The legwork provided by these moments importantly give the writers an easier task writing these characters in later episodes. You don't need potentially clunky exposition like 'they grew up together' or 'Laena used to follow you around like a shadow'.
Besides, as a viewer we are always going to be more emotionally moved and invested in what we see, rather than what we hear exposited to us.
Episode 2
A running theme throughout the first half of the season is the systemic sexual abuse of girls within the feudal patriarchy that is Childbrideros, and this episode sees both Laena and Alicent served up as child brides by their parents. First off, I already really like the scene of Laena and Viserys walking through the gardens. It does a good job first establishing her obsession with Vhagar, and above all emphasising how young Laena is. It's extremely disturbing, and props to the actress here because you can see actual terror in Laena's eyes as she repeats what she's been taught to say.
Honestly I think Nova Foueillis-Mosé was criminally underused.
Again, this scene is already incredibly effective on its own. But consider how the additions to the previous episode could have done some extra legwork for this scene. How much more disturbing is this already disturbing scene if we’d just watched Laena running innocently around the Red Keep, playing with her brother? If we'd just seen her being a sweet little sister with Rhaenyra? It’s the difference between getting to know a character from a disturbing scene, and witnessing a disturbing scene with a character we’ve already gotten to know.
Now this is a bit of a tangent, but relevant to setting up Laena's role in the story while adding to the themes of the episode. I would have made some changes to Rhaenyra’s interaction with Rhaenys*, as they watch Laena and Viserys from above. When Rhaenyra asks Rhaenys if she is ok with this, Rhaenys could inform the audience that Rhaenyra’s own mother Aemma was the same age as Laena when the Old King arranged her marriage to Viserys. And before her Rhaenyra’s grandmother Daella was such a delicate young girl when she was married to Lord Rodrik Arryn - seven-and-ten yet, by all accounts, barely out of childhood.
*again, for the sake of this post I am broadly accepting the show's depiction of Rhaenys and her hostile relationship with Rhaenrya.
This would emphasize the systemic generational abuse and trauma of Targaryen girls that Rhaenyra fears, and give the audience a clearer idea of Old King Jaehaerys. I hated the little joke Lyonel makes about the trouble Jaehaerys had with his daughters – not because this isn’t the kind of joke people would have made, but because this is all the audience gets to learn about Jaehaerys and his daughters.
I would also take this opportunity to make clear to the audience what exactly happened in the Great Council at Harrenhall. As the show depicts it, the audience would think Rhaenys had put her name forward against tradition. As I said above, tradition actually dictated that a daughter comes before an uncle, and certainly before a male cousin. The Lords weren’t voting in favour of tradition – they were given the chance by Jaehaerys (who sought to retroactively legitimise his own claim to the throne - his older brother's daughters rightfully came before him) to ignore tradition and let their misogyny pick.
Some of this information could have been delivered during the opening prologue at the Great Council. But there is also space to inform the audience here, by having Rhaenys bitterly recount how she was passed over. Her father was the Old King’s firstborn, by all laws and customs of the Andals and the First Men she was the heir. A daughter comes before an uncle, and certainly before a cousin.
This addition would achieve three things.
Clarify the injustice done to Rhaenys, and the hypocrisy of the Greens’ appeals to custom and tradition.
Emphasise the stakes against Rhaenyra – all law and precedent was on Rhaenys’ side and it still wasn’t enough. Meanwhile her own situation is an entirely radical one.
Make it clear that Vaemond is absolutely not the heir to Driftmark when Laena's daughters come before him, therefore laying the groundwork for later episodes.
In terms of adding screentime to Laena (and Laenor), there is in opportunity in the scene where Rhaenyra picks out the new Kingsguard
Since Rhaenys is watching from the gallery anyway (she sure does like lurking in galleries), her children can also be present. They could be watching excitedly at the knights assorted below, perhaps even interact with Rhaenyra as she playfully asks for their advice. There could be a horrible moment of dramatic irony in which Laenor voices his approval of Rhaenyra picking Ser Criston Cole on the basis of combat experience.
I would end the scene with a moment of Laena lingering on the balcony, and noticing Otto Hightower watching her. This little girl is his daughter’s competition. The uneasy moment passes and she runs off to join her brother.
This would also be fitting as the following scene is of Alicent visiting Viserys and pretending to be interested in his models (directly followed by a scene of her listening to Rhaenyra's fears of getting displaced as heir and telling her not to worry... but sure Rhaenyra owed Alicent her sexual history! 😂). It would add a disturbing thematic throughline in the scene transition - from one potential child bride to another.
Episode 3
We meet teenage Laenor in this episode, so let us also meet teenage Laena and include the cut scene of her claiming Vhagar to end the episode. There is an opportunity to visually parallel Laena and Aemond’s claiming of Vhagar – but for the purposes of this post I’m going to assume budget is an issue.
With this in mind, there are ways around the budget. We could have a scene of Laena walking uphill, and looking down to see Vhagar asleep on the beach below. The camera closes in on a look of determination on her face as the scene cuts to black and the credits roll. Alternatively, assuming an even tighter budget, Laena could be hiking and searching for Vhagar and simply hear a roar in the distance. Maybe she could smile as a shadow flies overhead.
One impact of including this moment would be to make the audience partially associate Vhagar with Laena, therefore making them more sympathetic to Rhaena’s emotional claim. I don’t have patience for the whole “this entitled little black girl thinks she’s entitled to a dragon – dragons aren’t inherited they choose their rider – someone tell this idiot little black girl that a dragon ain’t no slave”. I don’t give a shit who is correct about the fictional science of dragon-taming – I care about a little girl feeling an emotional connection to her dead mother’s dragon.
Moreover, in cutting the scene of Laena claiming Vhagar I think the writers have misunderstood the importance of both this moment and the character. I think they assumed that since Laena dies early we don’t need to spend time with her (even though, again, how we feel about Laena carries into how we feel about her daughters and the succession of Driftmark).
But remember that before Laena claims Vhagar in the show, the ancient dragon is living wild and unclaimed. Rather than leaving Vhagar in the wild, in claiming her Laena brings her into the dance. In the context of the show, Laena's connection to Vhagar is what makes the act of Aemond then claiming her become a cause for conflict between the kids (the conflict between the kids in the book meanwhile was not about Vhagar, but Aemond just being a bully).
There is also another consequence of Laena claiming Vhagar…
Episode 4
Unfortunately there are no Velaryons in episode 4 and few chances to insert them, but there is a way to make their offscreen presence felt and felt hard. Namely, have the Small Council react to the fact that Laena has just claimed fucking Vhagar. Set up just how terrifying it is to not have Vhagar on your side (especially for the benefit of show-only fans). The largest dragon alive, the last of the conqueror’s dragons...
...Claimed by Laena, who just got passed over as Queen Consort. Laena, whose children have a claim to the Iron Throne. The Velaryons, who have been insulted twice over, now have Vhagar.
That is a political headache indeed. All the more important now that Rhaenyra marries Laenor. House Velaryon needs to be brought into the fold. If you're struggling for space in Episode 3 then Laena claiming Vhagar could even be the opening of Episode 4 - the event that sets into motion Viserys' political headache and Rhaenyra's marriage.
I mean, we already have the scene of the small council reacting to Corlys replacing the Crabfeeder as the power in the Stepstones, and Otto delivering the news that Corlys is in negotiations with the sealord of Braavos to marry Laena to the sealords' son. Since we're discussing the implications of House Velaryon entering an alliance with the Free Cities, is it just possibly a teensy weensy bit relevant to mention that Laena rides Vhagar?
Episode 5
First change to this episode isn’t strictly about Laena, but it is about Daemon as a husband, which informs our understanding of his relationship with both Laena and Rhaenyra.
Basically - divorce rock is fucking dumb. Book purism aside (sorry Conman, but Book Daemon had a solid alibi), it demonises an already dark character, who already has plenty of flaws without adding bashing his wife’s head in with a rock. The show doesn’t even fully commit to it, since it doesn’t tell us what exactly Daemon was planning to do before the horse threw Rhea off its back – ask for an annulment? Kill her a different way? Yes it gives us the chance to meet Rhea Royce – and she is iconic – but the cost is stupid and avoidable and damaging to Daemon’s character.
This isn’t to whitewash Daemon – but to stress that just because he is a dark character it doesn’t mean that every possible evil act is on the writer’s table. Yes, I know, this is the guy who sent two assassins to kill a child (unless you subscribe to the theory that Book Mysaria - bitter at losing her own child - had her own interpretation of 'son for a son') – however, he's not the guy who killed the child himself.
Is there a moral difference? I ultimately don't think so, but there is a fascinating psychological difference. Compare to Aemond, who personally beheads the children of House Strong, who murders a fleeing Lucerys in cold blood. Assuming an interpretation of Daemon in which it is him and not Mysaria who orders Blood and Cheese - how much is this Daemon actually willing to get his hands dirty with cowardly tasks? To whom is he willing to commit what evil acts, and how? Does he reconcile his self-image this way, “I’m not the one who killed the kid, it was an assassin”? “I’m not the one who killed Laenor, it was an assassin?”
Because that’s Daemon’s MO*, from Qarl Correy to Blood and Cheese. If he had anything to do with Rhea’s death in the book, it was through an assassin (and again, I think Daemon was a bit preoccupied with, you know, fighting in the stepstones - sometimes people just fall off their horse).
*again, for the sake of argument, assuming it was him
But that wouldn’t have given us the opportunity to see him and Rhea Royce interacting. So between that, and in the spirit of keeping the events of the episode broadly intact, I would have Daemon simply walk away after Rhea hits her head on the ground, the word ‘coward’ ringing in his ears. We don’t know what he planned to do, if he would have gone through with it – what we do know is that in this moment he wants the outcome but doesn’t want to actually be the one to do it. Rhea Royce isn’t a worthy opponent. Jaehaerys isn’t a worthy opponent.
This sets us up better for his relationship with his next wives. Daemon is capable of dark and violent acts, but he isn't the sort of person to bash his wife's head in with a rock. We can see his tenderness and genuine love for Laena without thinking 'does he merely see her as an obstacle between him and Rhaenyra?'
Getting past the Daemon tangent
In this episode we have a nice scene of Rhaenyra and Laenor negotiating the terms of their marriage. But when it comes to Laena we only get a brief snatch of her friendship with Rhaenyra. And there were plenty of opportunities to see more of that friendship, and of Laena.
Upon their arrival at Driftmark, we could firstly establish more of a presence for teenage Laena as she greets them. Let the camera give her a close up, making eye contact first with Viserys, then with Rhaenyra. In that close up, let the audience see that Laena knows her claiming Vhagar is part of the reason they are here, and she is enjoying it a bit. Aside from giving Laena the respect she deserves, this would establish to the audience just how powerful it is politically to be the rider of Vhagar - adding to the stakes when Aemond later claims her.
Next, I found the bit where both girls are unceremoniously barred from the throne room... very odd and thematically on the nose. We get it, women are barred from making decisions about their own lives etc etc... but we are talking about the crown princess and the rider of Vhagar... and Rhaenys is going to be in the room anyway. Also it's a tad insulting on Viserys' part to order his Kingsguard to bar Corlys' Velaryon's daughter from a room in her own home. Kind of a diplomatic whoopsie.
It would have made more sense if the crown princess and the rider of Vhagar were at least initially both in the room, then perhaps sent away while the adults talk business. We could have even had a little power play by the Velaryons - Laena can offer to escort them to meet her father and take the lead, positioning herself to be walking by the King's side instead of Lyonel. A subtle dig by the Velaryons, to remind Viserys that he passed over Laena as his consort and now he owes them. Bonus points if Laena smiles back at Rhaenyra and Rhaenyra looks amused by the situation (and slowly realising that she might be a little bit attracted to Laena...).
Next up... Rhaenyra and Laenor having an unsupervised walk on the beach? In a world obsessed with premarital virginity? After last episode? It just makes sense to have Laena and Ser Joffrey walking a bit behind them as chaperones. Then while Laenor has his moment with Joffrey in the dunes, Laena and Rhaenyra can continue walking along the beach together. Again, in showing their bond we build a foundation for their alliance over Driftmark and for Rhaenyra’s relationship with her stepdaughters.
The two of them can talk about how they’ll be good-sisters soon, and how now they can finally go flying together, something Laena wanted to do since she was a dragon-obsessed little girl following her older cousin around like a shadow. Before they moved back to Driftmark she used to hope that once Syrax was big enough Rhaenyra would take her for a ride.
We can use this moment to explore the more positive side of the Targaryen’s relationship to the dragons. Yes they can be death and destruction and hubris and arrogance and untameable nature. But they are also a wonder, they are liberty, they are seeing the world as no one else can see. To women in particular, they can be a means of power and agency that they otherwise wouldn't have.
Laena could even note this - she could make a reference to how her claiming of Vhagar has brought about Rhaenyra's betrothal to her brother. Laena has made it so she and her family can't be ignored.
Showing this political awareness by Laena, and at least some kinship between her and Rhaenyra, is important. Because Laena sees the influence she currently holds, and she recognises the implications of how she uses it. They could discuss the sudden flood of suitors flocking Laena's way, and Rhaenyra can admit that Laena's marriage is a source of anxiety to the royal council. They could even joke that Otto must be scratching his head in Oldtown, trying to calculate whether he could successfully offer Gwayne as a suitor, get himself another grandchild with a claim to the Iron Throne.
The implications are clear - you want Laena (and her future children) on your side. And Laena, recognising the impact of the Great Council for female succession, both feels a kinship with Rhaenyra and recognises the long game in supporting her sister-in-law. This will nicely contrast her with Alicent's actions in this episode - where she makes a bold stand in favour of the patriarchy to lash out at Rhaenyra for having premarital sex.
Now, I have mixed feelings about stopping short of having Laena and Rhaenyra discuss (or hint at) betrothals between their future children.
On the one hand, it is critical that this was Laena's wish. Her agency in solidifying the Targaryen-Velaryon alliance, in choosing to help her brother and her friend, in finding a way to one-up her greedy uncle Vaemond and secure Driftmark and the Iron Throne for her daughters - this is non-negotiable to me.
But the purpose of this exercise was to outline how the show's version of events could have still made space for Laena. And the show's version of events places the betrothal of Rhaenyra and Laena's children as the resolution to the conflict of Episode 8 - after Laena is dead. Plus for these versions of the characters, it is important that Rhaenyra offers a betrothal to Alicent. At this point, where they are, to Rhaenyra's knowledge, still friends, she is likely thinking about doing so already. Plus it's not as though Rhaenyra planned from the outset to not have Laenor's children, which increases the strategic necessity of a betrothal with Laena's children.
As a compromise, it is therefore important to at least make clear that Laena would have backed the betrothal. That aside from loving and accepting her brother and the fact that he loved his adopted kids, Laena did support Rhaenyra as queen, and was politically-minded enough to calculate that this alliance was both in their mutual interests and a great big Fuck You to the Grand Council.
Her 'girlbossery' is in politics, not self-immolation.
Now onto the Wedding
First off, give Laena some damn close-ups - remind the audience again of her influence in the marriage. Put her in pride of place even, another subtle dig by the Velaryons. Why stick her in the corner when her brother could be escorting her on his arm? Here is the dragon-riding woman who would have been Queen... look how stunningly gorgeous she is.
On that note, Laena Velaryon Rider of Vhagar certainly should have suitors flocking to dance with her, there's no need for her to be stuck at the table with uncle Vaemond for as long as she is in the episode. Yes she makes eyes at Daemon across the table... but she can just as easily do that from the dance floor. Again, surrounded by suitors, maybe a certain Braavosi guest could try his luck... before Daemon swoops in.
There are also plenty of moments for Laena and Rhaenyra to interact. The camera could show them smiling in greeting at each other, maybe passing each other during the dancing, maybe throw in a bit of sapphic subtext ;)
The camera could also cut to Alicent watching them from the table – she is replaced by the girl who escaped her fate, and who shares dragonriding with Rhaenyra. There are part of a world that Alicent can never join (or rather would never, Rhaenyra did offer her the chance to fly together), and have a means of freedom within the patriarchy that she will never know (that she turned down – her friend was right there, she could have asked her for help...)
Finally, in the episode we get a brief shot of Laena looking anxiously for her brother in the crowd during the chaos. It would take a mere couple of seconds to add Laena rushing to her brother’s side as he sobs over Joffrey’s mutilated body, to show her holding her brother close. This will build on the bond we saw in episode 1 – where Laena seeks her brother’s comfort during the tourney – and make Laenor's grief at losing his sister hit harder later.
Like, here we have Laena trying to push through a crowd to get to her brother... followed by a dispersed crowd with no Laena in sight. What gives?
We could also, you know, have Laena present during the actual wedding ceremony perhaps? Where is she??? That's her grieving brother getting married. Even Alicent is there (presumably just before running off to recruit Crispy and get him off for murder).
Episode 6
Unfortunately, in order to stick to the confines of the way this season is structured, we have to stay in Pentos on Daemon and Laena's inexplicably long honeymoon. Episode 6 needs to have Rhaenyra without the support of having Daemon and Laena nearby, so they can't be back at Driftmark as they are in the book.
In the book, this is the pre-Red Spring period where Rhaenyra has come into her own and is relatively thriving - Otto is in Oldtown, Lyonel is Hand, she has Harwin, she has Laenor happily claiming their children as his heirs, she has Laena (and with her, Vhagar), and yes she has Daemon. Until the Red Spring kicks into gear and she starts losing everything but Daemon - she loses Laenor, Laena, Harwin, she is ordered away from court, and Otto is back as Hand.
Since we've lost Rhaenyra's childhood of being bullied by her stepmother, this episode can no longer be the high-point before the Red Spring - it has to compensate by reversing things to make adult Rhaenyra isolated and humiliated in her own home (again, as book Rhaenyra was in childhood). Episode 7 then concerns Rhaenyra's reunion with Daemon, which necessitates placing him on a different continent in Episode 6 (butterfly effects include Laenor having to 'die' after his own funeral, while Harwin now dies before the funeral - Daemon can't be a suspect in Laenor's murder if he's on a separate continent, so the deaths must be swapped around).
Which is a bit of a mess, because Episode 5 implies Daemon starts courting Laena at least partly out of ambition - she rides Vhagar, their children have a claim to both Driftmark and the Iron Throne etc. The show goes as far as to open Episode 5 with Daemon murdering his first wife with a rock- why is he now wasting a powerful marriage by hiding in Pentos? Where did this come from? The episode does admittedly have Laena say this isn't the Daemon she married... but it doesn't properly explain how or why this came to be.
One suggestion is that he is moping over not being married to Rhaenyra and dissatisfied with Laena as a replacement. And er... he was literally courting Laena at the wedding? Yes I know he and Rhaenyra were flirting with each other, but they were both fully aware it was not happening. Again, he was literally courting Laena - signalling he wasn't about to petition Viserys to cancel Rhaenyra's wedding having now freed himself from his first wife.
Even if you want to insult Laena like this, how is it in character for him to mope on Pentos when they can do that from Driftmark? Is he trying to go cold turkey from Rhaenyra? Does that really override his ambition, his love for his brother, his hatred of the greens etc? Book purism aside, is it really consistent with his actions in episode 5 - which include murdering his first wife and courting Laena the Rider of Vhagar.
The other suggestion is that he is upset that his brother doesn't want him around. Which again isn't really consistent with his actions in episode 5 - which include him immediately ignoring the fact that Viserys had banished him, swaggering into the wedding, and easily getting away with it, even flirting with Rhaenyra in front of his brother.
So we have to reconcile the Doylist need to separate Daemon and Laena from Rhaenyra, while maintaining character consistency.
If we have to keep them in Pentos, we could tie it in with the Triarchy somehow? Have Daemon and Laena securing diplomatic relations with Pentos, to ensure an alliance against the Three Daughters possibly rising again, perhaps even at Viserys' behest? And maybe Daemon read this as getting banished by his brother one time too many, so he's prolonging their trip because he's upset his brother doesn't want him around? After all the last time Daemon was dealing with his brother's rejection he threw himself into fighting the Triarchy - so it would be consistent.
It would also be a further mention of the Triarchy in this episode, connecting to Rhaenyra's suggestion of military installations in the stepstones, and better set up their return during the Battle of the Gullet. Then instead of performing for the Prince of Pentos, Laena and Daemon could be intimidating a representative from Tyrosh, Lys or Myr.
Daemon aside, we could at least have Laena explicitly bristle at being taken away from the political action at home.
I mean, couldn't the writers have had Laena talk about literally anything other than wanting to die a dragonrider’s death? The entire self-immolation shtick is such a gross and stupid attempt at girlbossifying her death, and puts Laena into the position of selfishly traumatizing her daughters (not that the show does much with this trauma).
The biggest and most obvious change is of course to stick to Laena’s death in the books, as it is so much more tender and emotionally moving. After half a season of establishing her love of dragons and flying, Laena tries to fly Vhagar one last time but collapses. Daemon gently carries a sobbing Laena back to bed.
Her last moments can therefore be spent with her daughters. Maybe she passes on a legacy to them, some final words that they take with them into the dance. Or maybe her final moments are a lot less comforting, maybe she continues to cry for Daemon to carry her back to Vhagar. Maybe her daughters get to say goodbye, maybe one of them runs away, unable to face her mother’s final moments. Anything to say goodbye to the character, and to begin Rhaena and Baela’s journey, that isn’t just the shock value of a ‘girlboss’ burning herself alive.
Back to Laena talking about literally anything else.
In her conversations with Daemon, I would again establish Laena’s position on the succession of Driftmark, and her support of Rhaenyra. As she’s telling Daemon that she wants to go home, she could perhaps say that Laenor’s letters worry her. He doesn't say it outright, but she can tell he is scared for his sons. Maybe she can say that she knows her uncle Vaemond. His eye is on Driftmark*. Which puts those boys in danger. She can then tell Daemon that her brother needs them, that Rhaenyra needs them. That they need to go home. That she wants to go home. That she doesn't want to be hiding away in Pentos while the future of female succession in Westeros is being decided. She is the rider of Vhagar with a claim to the throne - she has power and she wants to use it.
She could even give Daemon an ultimatum: once the baby is born I'm hopping on Vhagar and bringing my children back to Westeros with or without you. Give us a sense of what could have been if she had only lived.
*if we could only have the action take place on Driftmark, we could replace the scenes of the Prince of Pentos or Laena's dreams of self-immolation with... Laena interacting with Vaemond. He could be making snarky comments about her brother and his children, with Laena coolly daring him to tell her what he's implying. He could even try to hint at a betrothal with Baela, seeking a way to claim Driftmark through her. Laena, seeing through his bullshit and reminded of her own near brush with child marriage, tries to conceal her anger as she smoothly refuses his proposal. She could even hint she already has someone in mind for Baela. (I actually want this so badly I would contrive to have an unwelcome Vaemond turn up in Pentos for this exact purpose).
Unfortunately if we accept the changes to the show then, again, Laena can’t be the one to actually arrange the betrothal between her daughters and Rhaenyra's sons like she does in the book. The show has structured things so the betrothal does not happen until the end of episode 8, long after Laena is dead. The tension of episode 8 revolves around the question of salvaging the Targaryen-Velaryon alliance.
But, again, to compensate we can make Laena’s wishes clear. We can establish beyond a doubt that she would have approved of the betrothal. We can, you know, not erase the voice of a black woman while whitewashing the man who tried to usurp her daughters. We can do the bare minimum to not sideline one of the few black women in fantasy we have.
We can say goodbye to Laena not as a self-immolating girlboss, but as a politically-astute woman who loved the freedom of flying, who fought for her family, who left a legacy for her daughters. A woman who would have changed the entire history of Westeros if childbirth hadn't taken her away.
i’ve always hated the way the show went about Alicent and Viserys relationship, it feels like the only way they could justify Viserys keeping Rhaenyra as heir is if he just straight up didn’t care about Alicent but that’s clearly not the case and i think it would’ve been more interesting to watch Viserys try and balance his love for both Alicent and Rhaenyra.
Viserys puts Alicents comfort and feelings above Rhaenyra multiple times in f&b. she’s practically exiled to Dragonstone after the eye incident which is why i think his decision not to punish Luke is a lot more understandable in the books, he allegedly decides not to make Rhaenyra his hand because of Alicents discomfort with the idea but at the same time he never wavers in his decision to keep Rhaenyra as heir and fired Otto in the first place because he he as pushing for Aegon to be heir.
Viserys clearly holds Alicent in high esteem since she’s basically his regent but that decision doesn’t really make sense in the show because the writers go out of their way to show he doesn’t like her nor respect her so why was she made his regent over Rhaenyra? since show Viserys would never put Alicents comfort over Rhaenyras.
it’s especially irksome because they went out of their way to make Viserys negligent and borderline abusive but they refuse to actually acknowledge that he was Alicents abuser in the show and continually have her sing his praises which might make sense if they had a good relationship except for the issue of Aegon vs Rhaenyra but they didn’t.
Was really interested by your analysis of Corlys & Alicent. Would love your take/thoughts on book!Alicent
Thought about this ask for a while to properly formulate my thoughts on Alicent and I would say she is the quintessential noblewoman. Her decision to put her descendant on the throne isn’t unusual because any other woman in her place would most likely try to do the same. Though she did go about it the wrong way. Long before the succession war happened, Alicent did attempt to have her son, Aegon, married to Rhaenyra despite the rivalry between the two siblings which had carried over from Alicent’s own rivalry with Rhaenyra. But she never tried to secure marriage between her daughter/grandaughter and one of Rhaenyra’s sons, because they are bastards and have much less worth in Alicent’s eyes. This mindset really screwed over Alicent. She could’ve eventually had her bloodline on the throne if she was more accepting of Rhaenyra and her sons. It’s a much smarter strategy to continuously play nice with Rhaenyra so you can get a future betrothal secured between your descendants. Alicent wanted to have her child on the throne next, but aiming for the longterm goal of having the grandchild be heir would have served her better.
Contrary to fandom opinion, I find that Alicent has minimal connection to Oldtown tbh. So I don’t believe she’s trying to further some “Hightower agenda” as is commonly said about her. That’s because Alicent’s actions are written to mimic a Targaryen monarch, albeit one who is steeped in more Andal culture, considering Jaehaerys’ ties to the Faith.
Since a young age, Alicent lived in King’s Landing. She was practically raised at court and Jaehaerys the Conciliator was clearly a big influence on her. Alicent was his caretaker initially. We see later on that her grandchildren are named in the Old King’s honour, which was likely Alicent’s decision. During the war, Alicent attempted to invoke a Great Council, following the example previously set by Jaehaerys. At the time of Alicent’s death, she even speaks fondly of Jaehaerys alongside her children (but does not mention her father or husband). So I think Alicent’s connection to Jaehaerys is important to understanding her character.
She genuinely believes in her cause because she is doing what the Conciliator would’ve wanted in securing the family inheritance based on tradition and precedent decided by house Targaryen’s longest reigning monarch.
Her relationship with Rhaenyra is fascinating if you examine it through the lens of the toxic cycle of misogyny. This is worth mentioning because the Dance is as much about a succession crisis as it is a story about the patriarchy. When she was younger, Alicent was subjected to rumours about her sex life. It was said that she had been carrying on an affair with King Viserys, even before Queen Aemma died. Also rumoured that she provided sexual services to King Jaehaerys. The original story of the Dance written in The Rogue Prince mentioned the rumour that Alicent lost her virginity to Daemon. This was all said by jealous courtiers who were upset at Alicent and her family’s closeness to the throne, and so they wanted to bring them down. Yet having experienced these tales being spun about her when she was younger did not stop an adult Alicent from repeatedly attempting to weaponize another woman’s sex life in order to discredit her (whether this was the insinuation that Criston was supposedly preying on a vulnerable young Rhaenyra or about the affair with Harwin). Later on, during the war, we get to see Rhaenyra repeat this cycle by targeting Nettles with the whole Daemon affair fiasco. Rhaenyra’s actions here were also done in her effort to discredit Nettles and justify her execution. It’s quite fascinating to me that these women who have been subjected to misogyny in their lives just repeat the same pattern. Though there’s a tragedy to this as well. The toxic cycle can only be broken through Nettles exiting the narrative, because to exist within the patriarchal power structure is to uphold misogynistic behaviour.
Though I wouldn’t consider Alicent’s misogyny anything out of the norm. Like I said, her behaviour is pretty typical for someone in her position. But it is still misogyny because of her choice to conform. Not that I expect her to completely overhaul the system. That’s a role for the main series characters to do. Certain corners of the fandom have a tendency to blame Alicent for everything but if you removed her from the picture, the problem would still persist. She is not the sole representative of the patriarchy.
I think she can be quite hateful though. Far too hateful for her own good. Her gloating about Rhaenyra’s dead sons, because they are bastards, was rather uncalled for. She fully buys into societal prejudices that bastards are inferior by nature. Only the trueborn children and the virtuous women who give birth to them have any value. Again, not unusual behaviour from Alicent because she is completely a product of her society.
Speaking of the positives, she is quite a capable administrator. Her ability at crisis management, such as during the Fall of King’s Landing when she swiftly got her family out of the city, is one of her standout moments in the book. Her love for her children makes her fearless and is her great motivation. Also, I thought it was funny that she left Viserys’ body to rot. #valid
I think one of the paramount components of Tim Drake’s character is his selfness need to help others and not expect anything in return. The biggest highlight of this can be found in Tim’s origin story A Lonely Place of Dying where Tim’s motivations are oft overlooked. Everyone knows the “Batman needs a Robin” but they miss the context behind it.
“I never thought of becoming Robin”, is the key phrase here that was repeated half a dozen before this iconic moment. Most people I’ve find tend to think of Tim’s introduction as more forward; Tim knocking on Bruce’s and announcing that Batman needs a Robin and Tim is willing to offer himself up.
Rhaenyra is not meant to be a misunderstood girlboss or a tragic feminist martyr. She’s meant to be a character you can love to hate. GRRM does this constantly. He doesn’t write aspirational rulers; he writes people whose flaws actively rot their own cause. And yes, he is very clearly riffing on Cersei with Rhaenyra not just thematically, but structurally.
In Fire & Blood, Rhaenyra follows the same emotional and political trajectory as Cersei: entitlement hardening into paranoia, grief turning into cruelty, suspicion replacing competence, power becoming personal vengeance and punishment becoming policy. That’s not accidental. That’s the point.
Rhaenyra is a warning character, not a vindication. She’s what happens when someone believes their birthright excuses incompetence, when personal pain justifies political brutality, and when dragons are mistaken for legitimacy. That’s exactly what GRRM is doing with Cersei in ASOIAF, and Rhaenyra is the historical prototype.
The writers seem terrified of letting a woman be fully wrong without immediately framing her as a victim of circumstance. They smooth off her worst edges, externalize her cruelty, and constantly give her moral alibis. That’s not nuance that’s fear of backlash. GRRM’s characters don’t come with disclaimers. They are allowed to be intelligent, charismatic, and disastrous.
Early GoT understood this with Cersei. Show!Cersei (especially seasons 1–4) is still horrible, but she’s: sharp, self-aware, politically engaged, openly resentful and capable of cruelty without excuses. We can sympathize with her because she’s honest about her bitterness, not because the narrative absolves her. You understand her, even as you recoil from her. That’s the balance Rhaenyra should have had.
Instead, the show wants Rhaenyra to be: morally correct, emotionally pure, politically justified, constantly restrained by others. Which strips her of the very thing that makes GRRM characters compelling: agency in their own downfall. Rhaenyra should feel dangerous. She should feel volatile. She should scare you before she collapses. Her paranoia, her cruelty toward the smallfolk, her obsession with power, her inability to govern those aren’t betrayals of her character. They are her character.
And yes, if the writers had leaned into Rhaenyra as show!Cersei-like figure proud, spiteful, vindictive, and increasingly unstable the story would actually land its themes: power without restraint is corrosive, dragons don’t make you right, being wronged doesn’t make you fit to rule. Instead, the show flinches. And that tells you everything. GRRM writes women who are allowed to be ambitious, cruel, petty, brilliant, victims and catastrophic. The show writers seem to think that making a woman morally ugly is a failure of representation, when in reality it’s the highest form of respect to the text.
Rhaenyra isn’t supposed to be defended from her cruelty. She’s supposed to be understood and then judged. Just like Cersei.
