This blog post discusses a few thoughts I have about Season 1 of House of the Dragon, with a particular focus on the character of Lucerys Velaryon and his young dragon Arrax in the finale.
I watched the finale of Season 1 of House of the Dragon last night. I knew what I was getting in to. But I didn’t know I’d feel quite as strongly about it as I do.
I mean, the show got me crying and feeling all kinds of things in every episode: Aemma and Baelon’s death (murder), every scene involving young Alicent (I’m so glad Emily Carey got her green dress moment, and how phenomenal they were, and every other actor!), hers and Rhaenyra’s relationship (the best change from Fire & Blood), Laenor’s grief, Harwin and Lyonel’s murder, Laena’s decision, the fight between the kids after Aemond claims Vhagar, Helaena and Jace’s dance, Viserys’ death… to name a few. A particularly favourite scene of mine was Vaemond finally speaking the truth for all to hear: the fact that everyone knows, and everyone knows everyone knows, but no one can admit it as it’s too much of a challenge to the fabricated idea of royal blood and racial supremacy that the entire Valyrian existence is predicated on; the lie can’t ever stop, and I love it so much. But poor Luke, my boy, he didn’t want any of this.
I never watched Game of Thrones, but I wonder if what I’m feeling — so enamoured with the casting, the acting, the set designs, the special effects (Caraxes is a cutie), the soundtrack — is exactly what so many others have felt during that show’s run… at least for the first few seasons. And I know that part of this too is that Fire & Blood (and of course the series more generally) has a particular significance to me, so to see it brought to life…
I’ll admit, though, the discourse around the show, which will no doubt get worse now that the storm has broken and the dragons are to dance, has been poisoning at times. I know a lot of it is (surely) tongue-in-cheek, just a bit of fun, but it definitely isn’t just that, sadly. The Greens ridiculing Rhaena for thinking she had a claim to Vhagar (she was just a kid, she’s allowed to hope! But I’m so excited to see more of Rhaena and Baela), the Blacks being angry at the writers for not portraying Daemon as the perfect husband to Rhaenyra, everything involving Alicent.
And the show is definitely not above criticism: the needless gendered violence towards characters like Aemma, Rhaenyra, and Alicent (I understand the points the writers are trying to convey, but it’s relentless and not dealt with in the right way, which is put so well here and here); the same can be said of the murder of Joffrey Lonmouth, which is particularly apparent as it’s such a change from how he’s killed in Fire & Blood (I know Aemma’s death occurs differently in the book too, but combining it with the events of the death of Alyssa Velaryon, grandmother to Rhaenys ‘The Queen Who Never Was’ and great-grandmother to Viserys I, was a good choice, I thought, but could’ve been depicted differently); the Orientalism of Mysaria; the ableist treatment of Larys Strong (I found his character so compelling when he was first introduced, and I understand the intention of showing us that manipulating and humiliating those around him is the only way he can feel powerful, but to give him a foot fetish is the wrong way to go about it); and Rhaenys’ actions in episode 9 (but I find myself trying to justify this to myself: I understand the intention, to undermine Aegon’s coronation, but it doesn’t really work when the Greens have dragons nearby as well, nor does the simple logistics work (how was she able to sneak down there? Don her armour? Not die or kill Meleys when breaking through the floor? And the smallfolk…)).
And there are little things too: we know now to expect Daeron, Alicent’s fourth child and third son, in Season 2, but couldn’t he have at least been mentioned once in dialogue? And the same with Maelor, Helaena’s third child and second son, just a babe of two at this point in the story (we know he must exist as the opening credits — which have grown on me as the show has progressed — show three bloodlines coming from Helaena to reflect her three children). And what’s that carved into the Painted Table, ‘Greytower Watch’? Greytower? House Reed will not stand for this!
(A quick extra paragraph 2/11/22): A couple of stills have been shared by the prosthetics artist Barrie Gower from the season finale, giving us a detailed, graphic view of the stillborn daughter of Rhaenyra, Visenya. As much as I enjoy the dragon-human hybrid theory of Targaryens (and the origin of dragons) — I think it’s really interesting and has plenty of textual evidence — there’s been something so unsettling and upsetting about big proponents of this theory pausing this scene over and over and analysing it in depth to find more evidence for the theory. That’s not the point of the scene! (Okay, I don’t mean to tell people how to enjoy the media they want to watch, but I’m of course allowed to express my own opinion.) The deeply tragic loss of Visenya and the physical and mental terror and exhaustion of Rhaenyra is what should be at the fore. I suppose I’m at least glad that the depiction of Visenya is subtle enough that it doesn’t detract too much from the emotional heart of the scene (though it is what’s led to the uncomfortable analysis in the first place). Worse would’ve been how she’s depicted as apparently being in Fire & Blood. And I know that in the series, the apparent descriptions of Targaryen stillborn babies are always ambiguous and from a perspective we can’t necessarily trust (like the many other instances in the Targaryen lineage discussed in Fire & Blood or with Dany’s son Rhaego), and so for the show to go ahead and depict Visenya this way all but effectively confirms this theory. Which I’m okay with, don’t get me wrong. But I don’t want it to take away from the emotional core.
Anyway, I think it’s easier to list the things wrong with the show than to endlessly list what it’s done so (so) well because, well, there’s simply a lot less to say (though that’s of course, not to say that just because the show has so many phenomenal moments — Emma D’Arcy and Olivia Cooke have stolen my heart — we should overlook the parts where it needs to be criticised).
I’ll say, too, I really like the prophecy, actually.
(Just another quick aside: The Winds of Winter is ¾ done!? This is according to GRRM at the ‘Virtual Celebration of the Targaryen Dynasty’ event which I caught live. ¾! Considering all the analysis people have done about his writing speed for A Dance with Dragons, could its release be just around the corner? (Hopeful for the winter of 2023 but more likely 2024?) But 75% of a huge book is still a ways to go, and who knows what he’s left to complete? Likely there’s still a bit of Bran to go, knowing how much GRRM struggles with his POV chapters. But this is big news. For a while now, I’ve thought about what it’ll be like when it’s announced, how chaotic everything will become, never mind when it’s actually released. (Though, really, I imagine it’ll be at least somewhat organised, with his publishers likely having a good grasp on estimated preorders and sales. After all, it’s going to make millions. But I’m no expert on the publishing industry, and I don’t mean to paint the process as entirely stress-free because believe me, I know that that at least is far from the truth.) It’s got to be split into at least two in the UK? I think GRRM’s relaxed a bit about the prospect of it not being published as a single volume in the US (based off something I remember reading from his Not a Blog a few months back). Will it be two hardbacks sold within a box? What will the subtitles be? Will the cover actually be the fan cover we’ve all accepted over the years? And then when we get our hands on it… I know it’ll take me a lot of time to read, regardless of when in the year it’s published, and even more time to process. And what about the constant anxiety of avoiding spoilers? Of wanting to keep up with the discussions amongst communities? And what about people’s expectations? There’s been over a decade’s worth of increasingly… interesting theories, how will these weigh up when we’re finally able to read Winds? But ultimately, I know these are all good problems to have — or at least I can say that right now from the comfort of living in a world where the book isn’t finished yet (which, again, I’m fine with, he should take as much time as he needs!) — because, well, the book will be out and we’ll all be able to read it and enjoy it together.)
Anyway! To what I wanted to write a bit about…
I’ve always had such an affinity for Rhaenyra’s children in particular, there’s such a tragedy to them — though that’s to say nothing of what we’re going to see at the start of the next season… — to all of them, my brave boys. And oh Visenya… (I also want to focus on Luke because the scenes in this episode involving him and Aemond have largely been talked about through the latter’s perspective, so I hope to give some much needed space to my poor brown-haired boy.)
Much has been said about the decision to allow Jacaerys and Lucerys Velaryon to travel alone to the Eyrie and Storm’s End, respectively, as envoys to re-establish support for their mother’s claim. Why couldn’t Rhaenys go in Luke’s place, or go with him? Or for Baela to go as well on Moondancer? Well, Dragonstone needs to hold onto as many dragonriders as it can as who knows what the Greens will do next, meaning it’s also a race against time to establish as much support as possible so Jace is right in suggesting the only way to do this is on dragonback. And so they mount their little dragons and soar into the skies. All Rhaenyra will remember of her second son was how he thought of her as ‘perfect,’ and him, the quiet affection of his mother (the touch of her little finger by Emma was… I can’t say).
It was only a short flight, and it was expected that little Luke would receive a warm welcome at Storm’s End from Borros Baratheon.
Even upon his arrival and seeing the behemoth that is Vhagar outside the walls, he continued inside the hall with his mission, his letter in hand and more courage than I could ever summon.
Now let’s be clear, Luke had no chance of winning the support of Borros. He was not his father, Boremund, the previous Lord of Storm’s End and staunch supporter of Rhaenyra and her claim. He very likely took offence to the suggestion that he would simply support her because his father had, and no doubt he is quite the misogynist anyway. Even if Luke wasn’t betrothed to Rhaena, he wouldn’t have stood a chance. Borros was never going to support Rhaenyra’s claim.
And there in the corner, almost shrouded in darkness, stood Aemond One-Eye, the scar and the memory of Luke’s attack/self-defense as present as ever. Luke grasped his sword. Aemond wanted revenge. (Finally, off comes the eye-patch, and oh my God his sapphire eye is stunning.) Was he acting of his own accord or was he provoked? In Fire & Blood, it’s unclear which of the four daughters — the Four Storms — he agreed to marry, but it’s said that it definitely wasn’t Maris Baratheon, the second eldest daughter. This is because she was said to have provoked Aemond, as she was angry for not being chosen, by challenging his masculinity. It’s reported that she asked Aemond if it was indeed one of his eyes that Luke had taken ‘or one [his] balls.’ (Is any of this true?) Aemond was ready to attack, Lucerys was ready to defend himself — and stood his ground so valiantly, just one boy surrounded by enemies.
What’s so tragic about this is that he was entirely free to walk away, in a sense: Borros would not allow any fighting to occurring in his hall (but undoubtedly enabled the ensuing conflict), and no one really thinks Aemond was out to kill his nephew. But regardless, and rightly so, Luke knew to get out of there, and into the storm he went.
But where was Vhagar? She wasn’t where Luke had seen her when he landed earlier.
Calming Arrax in High Valyrian like the trained dragonrider he was, he mounted his saddle and returned to the now wild clouds, his mother in mind. Thunder erupted around.
Arrax’s little wings struggled against the beating of the rain and the howling of the winds, but the pair — grown close over their years together, a strong bond formed over a lifetime — persisted. And then…
Right out of Lovecraft, the gigantic beast appeared overheard, shrinking little Luke and Arrax to the size of tiny raindrops. Aemond taunted them, cackling, strafing. Again, it’s unlikely he had any intention of killing Lucerys, but of course he’s not without blame for clearly ‘playing’ and provoking while commanding the largest and most powerful dragon in the world.
But Luke was skilled, using Arrax’s speed and size to his advantage, always remaining ahead of his uncle. However, even the most skilled of riders do not necessarily have full control of their dragons.
As an act of frustration and self-defense, Arrax released a comparably small burst of flame at Vhagar, infuriating her. Luke then tried to regain control of his dragon, commanding him in High Valyrian. Aemond, however, was increasingly losing control of his formidable mount, (quite understandably) failing to even speak in the right language to command her.
And suddenly Luke and Arrax were free, from Aemond and Vhagar but also the storm, a stillness and quietness all around — the sun was even breaking through — a moment for the pair to rest and recover for their short journey back to their family on Dragonstone.
But then out of nowhere…
I’m still reeling.
I said before that the best change from the book is the relationship between Alicent and Rhaenyra, and that’s true, both for its own reasons but also because this scene, with all its nuance around Aemond’s intentions and the control of dragons, is actually implied — at least a little bit, I think — in the biased pages of Fire & Blood. (I mean, in the main series, the first time Dany rides Drogon, it’s clear he has a mind of his own.) ‘If there was a fight,’ writes the author Archmaester Gyldayn: it’s not necessarily clear if there was an intended fight at all, but instead a mistake, a loss of control. No one really knew what happened, but I think it’s easy enough to read that Aemond didn’t intend to kill Luke in both the show and the book (though the show’s further characterisation of him has been great so far). Will Aemond return to King’s Landing and claim that it was intentional? After all, it’s better to appear a villain than for others to think of you as inept…
As their late father and grandfather said, ‘The idea that we control the dragons is an illusion.’
My poor boy.
