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editorialized torpedo

@horizon-verizon / horizon-verizon.tumblr.com

she/her -- ASoIaF Enthusiast -- (I will be changing the title of this blog frequently just because I want to)
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Anonymous asked:

Just because HOTD might not show what happens after the dance doesn't mean it will end Aegon and Jaehaera's marriage? Because some important things happen after that?

and btw, I remember a podcast with Condal where he says he has more or less an idea of ​​how HOTD will end but that it's complicated because he can end with something but there's always what comes after, it's never an end point

Ending the series with Aegon and Jaehaera's wedding (which I highly doubt) is not an end point, because whether or not other things come together after

A) He really should think of how this show is supposed to end or have a strong choice so he can orient the entire show around said end...this is another indication of how/why the show is as weirdly written and outright badly-written it is. He just doesn't seem to know or take confidence in what he's writing and directing the writing of and partly bec he insists on treating it like a marketing project. He writes towards what people like and what will get them to watch instead of writing a story.

B) I'm not sure why I or the audience has to feel like this ignorance of an end will be like is copacetic thing, esp when it's not supposed to be a long prequel show. And I know very well that it could not end with a marriage or wedding at all; people are speculating precisely bec this guy doesn't know his onw ending AND the show has been a cacophony of bad decisions that have befuddled audiences in whether its inconsistencies of plot and character and whole events were intentionla for later plot twists, "complexity", or just bad writing.

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Anonymous asked:

Hi! You mentioned that you don't mind if we compare characters to other shows?

I kept thinking about why Rhaenys/Alicent/Rhaenyra don't work for me but I think Augusta/Agatha/Charlotte from Queen Charlotte does, even though both show have some of the same flaws.

If you're not in the Bridgerton fandom It is a multi-season show set in the Regency era with a colorblind cast. One might expect a bit of misogyny to thin out the tropes of the genre, but the show was infamous in Season 2 because it proved incapable of allowing female friendships and It has a good dose of racism that the producers and writers DON'T seem to notice and think they're being woke.

QC is in some ways worse on the racism part. The character with the darkest skin is shown being raped several times on screen and is the only one not allowed comfort in none of their relationships, whether romantic, friendly or family (which always drives me crazy, especially since her plot is used to help the white woman who is the only one who is an indisputably good mother).

Now, despite its flaws, this is my favorite season. First, I really enjoy the main romance, but I also really enjoy those three women, and I think QC succeeded where HotD failed.

The three women belong to the nobility having different roles within it, none is really friends with the other and all three have their own agendas that lead them to be allies or oppose each other. And that to me is what makes them fascinating, each one doing their own thing with their spheres colliding and each one fighting for their place and power.

Augusta is the king's mother. She is ruling alongside the cabinet and the chamber using her son's name and therefore his power to get her way. There are certain moments where she uses misogyny to her advantage to get more time or get her way.

Agatha has just recently won her title and has the most to lose because of how unstable her situation is. That means helping, manipulating, and getting in the good graces of the other two.Since it's a prequel we know that she ends up being an important figure in society.

Charlotte is a newly arrived princess who didn't want to get married at first and her struggles are mostly about her marriage and slowly grabbing and using her own power that her mother-in-law wants to take away from her.As long as Charlotte is not acting as queen, Augusta has more freedom as the king's mother.

All three also have complicated relationships with their children, what they expect from them and what they get from them.

QC allowed its women to be unapologetically ambitious, to go after what they wanted, to have complicated feelings about motherhood even if they are more implied than literal, and have complex relationships with each other and with how they gain and exercise power. Sometimes they are cruel, sometimes they are kind. Charlotte is allowed to be selfish, spoiled and self-absorbed.

HotD was afraid of making Rhaenyra really spoiled and entitled so it's all about the prophecy. Alicent does not know how to use the patriarchy and the rules of her society to her advantage, even though she presumably did so in her favor and against Rhaenyra for 20 years. Rhaenys lost all ambition after losing the crown. They are all involved in politics for the good of the kingdom and not for their ambitions and none of them has discovered how to not let themselves be trampled on for being women rather than the problems they face being due to political reasons.

QC ends up being a romantic story that coincidentally has complicated women and women with power. HotD ends up being a story about female suffering without catharsis.

Anon is talking about this post.

I think this is a good comparative analysis, too. I've watched Bridgerton and I've watched Queen Charlotte despite the weird thing it has about race--even on the premise of racism being "done" when these are not dealing with unreal characters, in a world where Queen Victoria doesn't exist, apparently colonization isn't happening?hmmm--and can confirm that they manage to write women pretty well and QC is where they shined.

I wouldn't say I'm a part of the fandom, because I don't engage with its fans at all. Like nothing.

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Anonymous asked:

How do you feel about the portrayal of motherhood for Rhaenyra, Alicent, and Helaena in the show versus in the books?

Answer: It didn't make sense for either Rhaenyra or Alicent to try to find some peace when they have given neither any sort of room to believe that the other wants such, esp Alicent not believing it of Rhaenyra that. Mothers in HotD should expect to sacrifice or devalue their kids in the event of wanting to demonstrate good/tolerable personhood more so so an audience can love them than to create real people. Perhaps the writers are even confused on how to portray the possible conflicts of motherhood vs good personhood, but the way they've gone about it tends to:

  1. maintain and uphold the very patriarchal principle of the materiality of one's offspring -- Alicent-the-character in the HotD canon tends to use her kids more as indications of her own obedience and value more than her children
  2. deny them their humanity for the sake of a type of "heroism" or goodness they try ascribe to their central female characters for them to have any appeal.

Context: The writers are trying to define feminine heroism by their willingness to consider any and all avenues towards nonviolence (not necessarily real peace, though) despite the reality of the situation and the building preparations against both women. And I guess, in short that these writers don't seem to understand or care about parents and try to make as if a parent putting their kids first always is automatically an amoral actor. Especially considering this sort of weird anti-children-in-public-spaces or in general thing I've noticed online amongst the same people who say that celebs lose their humanity the moment they become celebs (mostly the female ones) and submit being stalked, harassed, yelled at for photos, etc. bec they so badly want the chance to express their frustrations out on celebs (a class that they have mentally deemed are the ones who are most appropriate set of people to get to experience this sort of crazy bc they are socially and economically removed from "ordinaries" like them)...like bad acting children.

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Anonymous asked:

First it was the "marriage between Jaehaera and Aegon would have been more interesting" (casually ignoring Jaehaera's canon 'condition') and now it's the 'Blackfyre Rebellion would be more interesting' - if Jaehaera was the mother of Daena, she would have to be insane to name her son after Daemon - the man who hired B&C - that is futher proof Jaehaera was never her mother. The greens tried to claim 'Daeron' was named after Daeron the Daring - why would Aegon III name his son after his war criminal uncle? He is named after Daenaera's father.

Greens have this problem where they refuse to actually engage with the text, "the dance is about a brother and sister having to fight", but why do they have to fight? What was the reason? Did they not read the Green Council - all of their claims are based on misogyny. A lot of greens are mad that Ryan & Sara didn't show Aegon has a 'claim' - they did. But if they adapted the green council as it was... sure, he has a claim that is only based on misogyny - great for him & for the greens that support him.

I've even seen some claim they are feminists - which is laughable, how can you claim you are a feminist & then deny that the Dance is about misogyny & not understand the message? Lol. TG is a mess.

if Jaehaera was the mother of Daena, she would have to be insane to name her son after Daemon - the man who hired B&C - that is futher proof Jaehaera was never her mother. The greens tried to claim 'Daeron' was named after Daeron the Daring - why would Aegon III name his son after his war criminal uncle? [the guy who was staunchly part of the side that would eventually murder his mother in front of his 10 yr old eyes]

Yep.

Greens have this problem where they refuse to actually engage with the text

Absolutely.

A lot of greens are mad that Ryan & Sara didn't show Aegon has a 'claim' - they did. But if they adapted the green council as it was... sure, he has a claim that is only based on misogyny - great for him & for the greens that support him.

But you see, "we must obey the law of the land"...the same land that has 15-year old child bride Alicent marry a seemingly over30 yr old!? Thought that Alicent's child-brideness was the defining reason for why she "deserved" to see her kids safe and sound from their sister "having" to kill them off to secure herself? Or that child brides was an absolute, horrible state? So we do support misogyny and sexual violence against women, even Alicent's?

Plus, the bk even still had Alicent having to use intimidation and cajoling to persuade the council members into crowning/stealing the crown for Aegon...much more than what show!Alicent was doing, who just kept saying that "it was what Viserys wanted" and "we can't kill Rhaenyra!" you'd think they'd want their fav/poor forever 15 to develop into an astute manipulator, to show some political prowess and persuasion ability, but noooo. they simply wish to avoid the blatant misogyny they already believe in so they can claim she's just helplessly trying to do "what's best".

how can you claim you are a feminist & then deny that the Dance is about misogyny & not understand the message

Well, they've been claiming they were feminists even while supporting how Alicent's been changed and bashing both book and show Rhaenyra for being "spoiled", "a NLOG", and "not doing her duty" or "using her class above teenage, child bride Alicent and taking advantage of her privilege to do whatever she wants without thinking hos it would affect Alicent and her kids' safety" since episode 1/2 of the 1st season. So...yeah.

You can check out my blog's tagged posts of "perfect victim post" "tradwives" "tradcaths" "alicent stans" "Rhaenyra vs alicent" and "rhaenicent" for more if you like.

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nyeisha95

It’s the fact that Jace’s own real prominent memory of Alicent is when she tried to take his little brother’s eye out. For an act he committed (to save Jace mind you) and people were really acting like he doesn’t have a reason to question why his mother would stupidly sneak off to see her when he in fact has every right to ask for answers and right to believe going to her will accomplish nothing. Like it’s not even about the trauma Alicent caused Rhaenrya it’s also about the trauma Alicent caused Rhaenrya’s kids and the fact that they write Rhaenrya as not understanding that will always irk me. Book Rhaenrya’s true love was her kids and if anybody caused them harm it’s on sight forever, Show Rhaenrya legit has to reminded of her children’s trauma (her and Jaces argument in 2x07) and is shown to be annoyed majority of the time she had a conversation with her son.

Yeah that's valid.

"Mom why are you trying to make peace with the horrible woman who wanted to mutilate my 6yo brother when I was like 8 coz I still have vivid nightmares about her coming at us like a shrieking harpy with a knife" -> I would say it's because the authors are horrible shitty writers and TB's kids are all treated as an afterthought.

While we get to endure Aemond's misery and trauma and how he copes with it with a sex worker and excuse me what was the point of that scene (those scenes?) again? Like, yes, he was bullied (and still is by his owm brother, yes he lost an eye, yes his father cared less than his mom (from his perspective), it's all very traumatic but we literally get nothing equivalent for the other side. Rhaena and Baela know their mother committed suicide by dragon and the show is like:

Correct me if I'm wrong, but I don't think Rhaena has expressed anything about Luke dying? She might not have cared about him as a betrothed but she could have cared about him as a close family member still! But no instead most of them only seem mildly annoyed but aren't really grieving. Baela is angry at her dad too. That's about it? Even the impact of Rhaenys' death is quickly glossed over.

We do however need to know how sad Aegon is about losing his dick - oh and his dragon too I guess. That was incredibly important after all as GOT has taught us:

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nyeisha95

It’s the fact that Jace’s own real prominent memory of Alicent is when she tried to take his little brother’s eye out. For an act he committed (to save Jace mind you) and people were really acting like he doesn’t have a reason to question why his mother would stupidly sneak off to see her when he in fact has every right to ask for answers and right to believe going to her will accomplish nothing. Like it’s not even about the trauma Alicent caused Rhaenrya it’s also about the trauma Alicent caused Rhaenrya’s kids and the fact that they write Rhaenrya as not understanding that will always irk me. Book Rhaenrya’s true love was her kids and if anybody caused them harm it’s on sight forever, Show Rhaenrya legit has to reminded of her children’s trauma (her and Jaces argument in 2x07) and is shown to be annoyed majority of the time she had a conversation with her son.

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Anonymous asked:

Yeah, ok, I’m willing to admit I wasn’t the clearest or the most straightforward. Let me try again, hopefully it’s better this time.

To begin, let’s ‘clear the air’, or so to say, ok? I believe Dany is AA/TPTWP, that her dragons are Lightbringer, that she’ll bring the dawn, that Drogo was her Nissa Nissa. I believe her anti-slavery campaign in Essos is just and good and I stand by her. I’m TB. I believe the Dance was because of misogyny. I know Jaehaera was not a ‘failed AA’(wtf even is that). I know that Aegon III’s wife and mother of kids needs to be Daenaera for narative purposes.

This is where I wasn’t clear enough, I think: paragraphs 2, 3 and 4 of my ask are about the anons (the people and their message) not about you or your response. THEY tie themselves into knots over theories THEY come up with that make little sense. THEY draw comparisons between characters that have no business being compared to each other. It’s THEIR words that make me question wether they read the pov chapters of the character they use for these theories and comparisons. Not you or yours.

Does it make more sense now? Is it clearer? English is my second language, so perhaps that’s why we had a bit of a misunderstanding.

Anyway. I still stand by what I said both in that ask and in this one. It’s just that… seeing THEIR weird opinions/theories/fears just left me frustrated and annoyed. I suppose that’s why I wrote to you in the first place. Because I like your content generally and I don’t want to block you just because THEY’RE being morons.

(Also, if you see a shorter, similar ask before this one, ignore it. Tumblr had a bug while I was writing it and idk if the ask got sent or just deleted. If there wasn’t one, just ignore this, thanks.)

Anon is talking about this ask.

So you're asking that I not answer asks that piss you off? I can't do that. If not and you're expressing a crash out exclusively against these anons, okay, that's fine.

Except you said this:

But how can you talk stupid shit about a character that you don’t care to read about? You call the antis of your favourite “brainless”, but you act just like them towards other characters and their fans. This is called hypocrisy, btw, and you’re contributing to the disease in this fandom just as much as them.

And I'm not sure how else one was supposed to take it except as a shift from:

And to be clear, I’m not saying you can’t have absolute favourites, that you can’t be ride of die for a character. You can even ignore any other pov but the one of your fav. I have my favourites as well, it’s normal.

?

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Anonymous asked:

What do you think of those who, when you explain to them that it was the norm for girls under the age of 16 to marry in feudal times in different countries, retort that slavery was also a norm in era and that it was horrible and therefore that in our modern times, grooming should not be glorified...

I... Honestly, I don't know what to do with such jerks. These are two subjects that have absolutely nothing to do with each other.

But I loved finally seeing a post that dismantles this shitty argument in detail. At least, if you have the courage for it.

*EDITED POST* (10/29/24)

The medieval period spanned from around the 400s to the 1400s so we are not using the Tudor period--a period much shorter than the medieval--to define the entirety of the European marriage vs consummation pattern.

  • Early Middle Ages – c. 476 [Fall of Roman Empire] - 1000
  • High Middle Ages – 1000 - 1300
  • Late Middle Ages – 1300 - 1500s

Consummation vs Marriage

And actually, as I've recently researched, medieval peoples (parents and "doctors" of medicine, philosophy, jurists/law writers, etc.) usually wanted daughters' marriages to be consummated when they passed 15 at least. So nobles'd usually arranged for their daughters to marry before they became 16 & later have them marry according to distance and resources and legalities & then later they'd actually have them consummate. So the time between marriage and consummation is shorter but both partners have reached the better ages to be married AND because the younger the brides were, the more dangerous childbirth would be for them and the child they'd carry. Lower classed people had more freedoms and thus married later--19-20s. More free-willed marriages, too.

So yes, marrying any younger than 16 and up was frowned on by at least a number of those writing medical texts, parents, and other people in the immediate community. Humans broadly would have knowledge of when it was best for a girl to start having kids since the beginning of human existence, so it follows that they would not usually marry/allow consummation b/t their children younger than 15 or 16.

Age of Consent and "Adulthood"

Marrying before 15-16 was mostly an aristocratic thing for lineage-making, accruing resources, and alliances. People of other classes, in rural and urban locations, or of lower ranks/stations married--more than nobles--of their own volition AND older, at least in their late teens (Peter Laslett--1965; The World We Have Lost).

At one point, the Catholic Church made it canon that girls as young as 12 could get married, which comes from numerous 70s-80s written sources about Church canon law. This site informs that the "canon" age of consent for girls in late-13th century England was 12:

An age of consent statute first appeared in secular law in 1275 in England as part of the rape law. The statute, Westminster 1, made it a misdemeanor to "ravish" a "maiden within age," whether with or without her consent. The phrase "within age" was interpreted by jurist Sir Edward Coke as meaning the age of marriage, which at the time was 12 years of age.

That part comes from the medieval tradition of following and using Roman law, which said to list 12 as the minimum for a girl to get married. People already didn't follow Church laws to a T or sometimes at all (sex, prostitution, drinking, festivals, etc.). For the medieval-only context--how people protected and made laws to protect more girls from getting raped by trying to make sure that the rule of the age of consent made it so that these girls could never be seen as giving consent to having sex with a man regardless if they fought back and resisted or not.

I am not saying it was ever okay for 12 year olds to have sex with older people! I'm pointing out there was a lot more room and social allowances to make room for nobles and royals to marry way too young, so it follows that they will form relationships pretty young and it was likelier than today that would pass if arranged. The feelings on part of the couple wouldn't as likely be tempered with fear and shame unless we got a really crazy age difference, which was uncommon.

However, the age of consent (Church) & marriageability for girls also didn't have to and didn't match the preferred, customary, or legal ages of marriageability and inheritance for boys (various by time, location of families, & practices of land) so much as gave a guideline. For the everyday practices vs the beliefs about childhood and maturity that sustained them concerning marriage, here are some things about boys vs girls and the age of "consent"/majority/adulthood (for boys) versus the age of marriage:

Humoral theory connected adolescent bodies with adolescent behaviour. The excessive heat and moisture of male youths predisposed them to hot tempers, lustfulness, courage and sociability. These physical and mental characteristics were considered to continue well past the age of physical puberty. It was in the late twenties or thirties that youths’ bodies cooled and dried sufficiently that they became reasonable, even-tempered, and ready to head their own households as husbands and fathers. How did this theoretical imagining of adolescence translate into practice? In legal terms, such a relaxed attitude towards the onset of adulthood was not possible; fixed ages were required for legal purposes, such as the age of consent and the age of inheritance. In canon law, boys were considered rational enough to give marital consent after the age of 14, but legal majority for the purposes of inheritance was usually reached at the age of 21.

AND

Marriage was understood in similar terms. While a boy might have the capacity to understand consent at the age of 14, resulting in the canonical minimum age for marriage, this was not the socially desirable age to wed. Age at marriage for males in medieval England varied across social groups, but among the gentry and mercantile elites we find a consistent avoidance of young adolescent marriage, with men marrying in their mid-twenties and women a little earlier. Where males married in early adolescence, it was usually because they were wards and their guardians had sold their marriages (a common medieval practice) or married them to their own children. 

In comparison to girls:

The 13th-century jurist Henry of Bracton said a woman reached maturity when she was able to take on the responsibilities of a housewife, but few other writers concerned themselves much with the female life cycle. Women were believed to experience the prime of their lives during adolescence, as this was the age when they were considered to be most spiritually pure and physically beautiful. For a female youth, adolescence was tied to her ‘maidenhood’ – both her youth and her virginity – and so with marriage and the loss of her virgin status she was usually perceived to have exited the most ‘perfect age’ of a woman’s life. In short, girls usually became women because of their relationships with men: when they left their natal families and became wives. Boys’ transition to manhood was a longer and more variable process.

So according to those present, there could SOMETIMES be more concern with boys' younger ages-at-marriage-sex-and-consummation, bc they were the ones entrusted to inherit/lead the household and its resources one day. Reading this passage, I concluded that parents didn't want to give their businesses or titles/lands to their sons "too early" while also making sure their daughters were married off as soon as they felt they could birth children which are also considered "attractive" (appealing bc they can birth but also desirable bc youth=beauty + the longer birthing period) to other families/sons, which is why the women's marriage ages tended to be earlier still than their husbands...or you'd see that more often.

Again, it'd be more often that they wanted the girls to marry earlier than boys did (but still late enough to survive and able to reproduce again) unless they felt that they had to take an opportunity to "seal a deal" earlier for whatever economic, or sociopolitical reason. But it's an exaggeration to say all or most marriages were b/t 12 yr olds and 25 yr olds. And at the same time, the rules are not as tight on this, which for some people might as well mean that everyone was a pedo; the ole' fallacious "if it happened, then that means that they didn't care" argument.

So there would be 14-17 girls marrying 19+ men-boys but those types of marriages would occur more often in aristocratic and royal marriages/levels of society through most of medieval history and regardless of location because the lower the stakes a marriage has for the state/dynasties, the more the individuals have in choice of who and when they marry.

Again, generally, yes people tried & wanted to keep the age gap as small as possible...but:

  1. it mattered what class, region, and time period you were in
  2. were flexible according to the competing-influences matrix of perceived needs, relationship to those kids, how much/well they actually looked out for their needs over the "family's", and what they believed their kids' were obligated to do/the benefits from such marriages

After marriage, esp in noble/royal ones but you could find them in their "peasant" families, one could expect that consummation is not too long after if there aren't already careful arrangements for the couple to live apart in any sort of manner, or for there to be people monitoring their behavior if they did live together.

Sometimes noble people were engaged/betrothed/married as soon as they were born, before then, or a little later.

Sometimes noble people didn't even have the two marry and see each other for the first time, having instead people represent one or both of the persons in proxy marriages until the parents/guardians decided to put the two physically close together. The last was usually in the case where the two families had a broad distance between them or otherwise couldn't travel. Proxy marriages were considered as legitimate as nonproxy ones, but at one point the marriage still needed physical consummation to make that marriage more secure and safer from possible annulments.

Examples of (mainly) ages in noble marriages:

  • Margaret Beaufort (12) --- Edmund Tudor (24)
  • Eleanor of Aquitaine (14) --- Louis VII of France (16-17)
  • Margaret of Anjou (14) --- Henry VI of England (23)
  • Empress Matilda (8-betrothed; married-13-14) --- Henry V of Germany (24-betrothed; married-29-30)
  • Isabella of France (*13) --- Edward II of England (24-25)
  • *Isabella I of Castile (18) --- Fernando II of Aragon (17)

And these were outliers. For Margaret Beaufort, it is claimed that at least her own physicians were concerned over the effect on her body before and after childbirth at so young an age.

Most parents loved their kids as most parents nowadays love theirs, wanted what they thought was best for them, and wanted them to be physically healthy/alive, but even if they didn't they wanted them to stay alive after having kids if only to have even more kids--part of the point of marriage, to secure that bag and create a combined lineage. And they weighed their choices by what was told available to them to manipulate, influence, provide, resist, teach, etc. vs what they believed to be in their ability or their duty.

So while there were definitely girls married at 12 by:

  1. noble/royal people
  2. either anxious or greedy & ambitious and/or uncaring parents/guardians/hosts
  3. forced to by a single, much older person who was head of his house

more often people preferred and arranged for their kids to have sex within arranged marriages in mid-to-late teens and they could/did take measures to make sure their kids consummated as soon as possible while also making sure that asap increased the mother's chances of survival...and as one could guess, even that would end up with below-18 marriages being consummated. Since a marriage could be annulled, if it wasn't consummated, so noble/royal parents/guardians/hosts could push for their kids to have sex as soon as possible to prevent that, and there were critics for that sort of thing from the Church writers, clerics, jurists, etc.

Going back to the age of consent, female consent, to the Church in the mid to late medieval period, was also important and often included in legal requisites for marriage even without parental consent (Noonan, John Noonan--1973; "The Power to Choose"). The Church's hold on cultural practices was not consistent, though it also grew more so towards the end of the period.

So, 8-12-year-old brides were more uncommon than not. And 8-12 is a huge difference from 15-16, no matter the time. Even with people dying earlier in comparison to modern Western peoples--because again, what's the point of further endangering someone who already made it past infant mortality, who you raised and watched grow up and endanger your economic prospects by making them give birth too young? Yes, they could die, but usually, if you saw no present signs of an illness or heard of any possible assassination attempts, if those dangers felt far enough, the host or guardian (if they truly cared) c/would and didn't push their kids into consummation if they didn't feel they had to.

Lots of self-contradictions in medieval marriage practices and beliefs. This actually opens them more to having more of those age gaps than what most of us 2024 moderns are comfortable with (I've seen some argue over 4 year differences, 20 and 24), but that doesn't mean that they were 100% avoided in various marital practices and laws.

ASoIaF and Age/Marriage and Sex

This is a post by @la-pheacienne about the age gaps of ASoIaF. And this one from @dragonsfromthemoon is about the same.

What is discomfiting for some people about GRRM's main romantic couples and their age gaps is that a larger number of the ones featured occur between people with 10+ age gaps and the girl is less than 17 in romantic AND nonromantic setups. In comparison, those romantic couples do not have as large a gap with the girl being above 17. Sansa and the Hound; Rhaenys and Corlys; Rhaenyra and Daemon, Brienne of Tarth and Jaime Lannister, etc. It's actually completely valid for people to be concerned and disgusted with such appearance of teen/child marriage and too-large age gaps in their marriages and relationships GRRM writes for their own sake.

A number of things could have happened after Daemon was giving gifts, singing/writing poetry, etc. and before Viserys kicked Dameon out that alerted Arryk into reporting them to Viserys. People/viserys would have likely already suspected Daemon bc they would think he's out to get the throne any way he can or otherwise stir up trouble. We don't know if Daemon and Rhaenyra had sex, if they were found kissing, or hugging erotically, or what have you. But, it's very clear that he wasn't "courting" her with Viserys' permission, that he was using Rhaenyra against Viserys (partly bc of what happened with Mysaria and the whole denial of having his own child and heirship), and Rhaenyra herself for a while didn't want him near before she traveled to Driftmark and befriended Laena Velaryon.

But I don't particularly agree with the idea that some characters in their own psyche/character are automatically pedophiles or groomers for marrying AND having sex with under-18s (as long as they remain in their 20s simultaneously, no matter how uncomfortable that makes me) when even in real medieval-Tudor societies:

  • some of those (noble or otherwise) marriages were arranged without asking either party, yes even when there are marrying parties in their 20s bc marriages involved delegating resources which involved the entire family and having that pressure on you would still exist
  • the court lords and ladies of power & parents sometimes pushed for consummation
  • (even if this was far less often) older women, though less often than the reverse, did marry younger men/boys--Catherine of Aragon and Henry VIII
  • there were contemporary philosophical pretexts for women/girls to be married off below many modern societies' ages of consent (17-18) to either other children or adults versus men/boys marrying older, which shows a society and mindset meant to prey on girls/women's reproductive labor and make them sex

So the argument that there was no canonical romance or romantic feelings between Lyanna and Rhaegar or Rhaenyra and Daemon in the text itself can't be one-and-done.

In ASoIaF, GRRM made it a bit simpler & exaggerated in comparison to what occurred in real life for noble people BUT real-life noble girls were considered marriageable at the very least as soon as they got their periods and "beddable" only a few years after. Kids and adults get married and consummate early and at any time, while they can make decisions for the house at 16. It's also clear that he is aware of how girls vs boys could have their sexual maturity treated differently to the point where a girl's maturity is dependent on her sexual role of bringing about heirs and their overall roles within the economic household/noble house unit.

Once more, noble and common-born girls are considered their most "attractive" in their "midlives" (adolescence)--bodily and spiritual purity. Thus the focus is on wombs more than humors and the capability to retain their lives and embryos. Whereas boys' maturity is conceptually considered as how well and "cool" they will be to run households and make "executive" decisions, and not harm themselves through indulgence in sex ("hot-blooded" activities), thus throwing themselves off balance. But there are differences in when noble vs nonnoble people marry due to their marriages having different stakes on the whole.

So I feel that he wanted to emphasize the "girls get married young(er) and build relationships younger not far from self-preservation or being torn from their childhood through violence" motif but only for the purpose of focusing on its place under a war-context. (Sansa, again) Then again, I could be terribly wrong and giving too much credit, but I would like someone to bring forth some info or arguments for how GRRM is just being sick, keeping in mind my thoughts to counter.

Real--and assumedly some Westerosi--medieval/Tudor people do not conceive of "maturity" the exact same way moderns do, so we'd have to analyze more than just when they married but HOW they married and saw their sexual partners (who did not have to be the same as their married partners) to then see if they were pedophilic &/o sexually predatory. Again, arranged marriages and 15-16 year olds marrying.

At the same time, I also recognize how exposing people in their mid-teens and younger (mostly girls) to possible sex with older people (men) actively on a real-life legal scale lowering the ages of consent generates more pedophilic feelings because men are encouraged to seek out "sexually pure" girls as a commodity and a sign of personal masculine virility. Also to take advantage of their lack of life knowledge/emotionally isolate them from their families for continued abuse.

For the society of Westeros, as it gave the space for more sexual interaction b/t adults and children, the main intention & purpose behind arranged marriages amongst the nobility wasn't about keeping young girls as sex pets so much as power struggles between families and retaining properties/privileges, and young people became the devices of their parents/guardians more often than some would like. It definitely enabled men to make a "pet" out of their wives and gave them more power in general over women, yes, if they so chose, but it's too simple to say that was what the "first" peoples were going for. Resources.

One could say: yet wouldn't the result be similar? As I already stated a child of 12 could be forced to consummate by elders/spouse and a 20-year-old could be told they have to consummate such a marriage. The younger a spouse could be, the younger a prospective sex partner could be, and the more power one has, the less subject to a law a person could be the more likely they can indulge themselves...the more likely they will not be held accountable for raping/sleeping with too-young persons. I'd agree, because isn't that what happens with Robert Baratheon and Aegon II, who both sleep with 12 or 13 yr olds/rape them? These examples and it's phenomenon is "different" under the usual practice of political marriage amongst nobles in Westeros--even with comparatively (to real history) more prepubescent girls marrying and having relationships with much older men--also opens up the independent/consented/voluntary sexual and romantic relations between these people. Again, in Westeros, a dramatized and inaccurate portrayal of medieval Europe (actually England).

Once you enter another world, once you go another place it's not really about making sure you morally evaluate whatever happens there immediately in some sort of conformist agenda so much as see what the world is already like, what challenges it brings to its characters, how those characters rise or fall to the occasion and why, etc. This comes first, otherwise, how could one make any moral conclusions or evaluate the conclusions of ethics WITHOUT ignoring what conditions they had to answer to?

Conclusions (For Now)

it's weird. IDK.

Once again:

A number of things could have happened after Daemon was giving gifts, singing/writing poetry, etc. and before Viserys kicked Dameon out that alerted Arryk into reporting them to Viserys. People/viserys would have likely already suspected Daemon bc they would think he's out to get the throne any way he can or otherwise stir up trouble. We don't know if Daemon and Rhaenyra had sex, if they were found kissing, or hugging erotically, or what have you. But, it's very clear that he wasn't "courting" her with Viserys' permission, that he was using Rhaenyra against Viserys (partly bc of what happened with Mysaria and the whole denial of having his own child and heirship), and Rhaenyra herself for a while didn't want him near before she traveled to Driftmark and befriended Laena Velaryon.

However, I also think GRRM is trying to point out how Daemon doing whatever he did with 14/15 year old Rhaenyra (that got him kicked out) was a line-crossed other than disobeying Viserys/the King's directives...we have Dany who was 13 and pregnant with Drogo's child, a line that was meant to be taken as objectively terrible. We can see that Daemon's actions were somehow not to be taken as neutrally moral, but him taking advantage of Rhaenyra, even if not exactly him seeking to have sex with someone he thought of as a child (Dany & Rhaenyra, different environments in-world, but simultaneously, OBJECTIVELY/OUT OF WORLD, not-good). So, Daemon is kicked out, marries someone else, grows to be a father/husband/they spend years apart, Rhaenyra has Harwin as a lover/they come back together and marry.

It's not that what was going on wasn't wrong so much as how do I use the moral indictment against men & women marrying teenagers--esp arranged by other authorities--as the fault of the individual alone when it's clearly a social practice. One that needs a total razing of the entire world (not just Westeros) to deal with.

Apart from critiquing GRRM for making a high number of girls marry in their early teens instead of the mid-to-late teens and thereby his normalizing such practices for the sake of just showing how it is war and patriarchal shit, but not enough on how this affects girls and women [joannalannister]. How there isn't some punishment that rests more than just on the dying woman; stories of Rhaena-Rogar and Rhaenyra losing her mom are there, but they don't match or at least come close to the number of dying/raped/assaulted women lost in the narrative.

I'm saying that if we critique the series concerning age gaps, even with GRRM bringing the "spirit" of noble marriages into fiction, that is more a critique of GRRM's writing. Should Daemon have pursued Rhaenyra or had access to her enough to do so? No. However, I also can't let that overtake the fact that Rhaenrya would have gained more agency in marrying him out of everyone her father would have rather stuck her with. With him, she practiced a lot more autonomy and room to be herself and feel safer than with others (even w/Harwin, he was attracted to her and had their affair with her when she was 17-ish and married to Laenor, hence how Jace came about so quickly after the marriage[both in 114 A.C.]).

Rhaenyra doesn't get to choose her first marriage/sexual "legal" relationship--her father does. This is true of most royal and noble marriages and becomes more common with the higher status.

"Grooming"--as a means to critique the character living in a world where girls marry very early, even if historically inaccurate, loses its neutral assessment of possible amorality on the character's part when the context for the accusation of grooming is not there. la-pheacienne says:

The problem with the word "grooming" is that it's not a neutral word. It's a word with a very heavy meaning, that frames an individual who has a perverse, unnatural sexual desire for children whereas the society this individual lives in has decided (fortunately) that these children are not to be considered in a sexual way.

Book!Daemon did do what we consider unscrupulous bordering on predatory in his gift giving and more "attention" spent after he comes back, and he does it so he can marry the girl. There are other ambitions for his approaching and spending time with Rhaenyra besides his probable genuine like for her personality. Watsonianly and Canonically, these two respect and liked and loved each other because they both were very similar and proud of their house & heritage. Using the term "grooming" makes it much easier for people to see and evaluate the characters and real-life persons as personally and independent evil actors without analyzing how regarding systematic contexts, things that are just bigger than the individual and actually create/affect the individual's decisions. Or at least that is the impression I get from some people who try to use Daemon as a gotcha for others for hating on Aegon...after they say Rhaenrya deserved to be usurped or to face femicide...because she "supported" a groomer.

It makes it as if the line that moderns draw is as obvious to these factors when it is not and has never really been, effectively making it as if "people back then" were just crazy people unworthy of examination.

It's almost like when we try to criticize Rhaenyra for asking for sex with Cole in HotD, when her position as a woman, even royal, is very different and treacherous than for a royal man asking sex of a non-knight noble woman, as noblewoman never become knights to even become Kingsguard. So Rhaenyra can be judged as exactly like a prince because she happens to be royal herself and there is some sort of possible power imbalance? Do power imbalances themselves, regardless of gender, at all make the relationship bad automatically? What if the entire society is built on power imbalances, does that mean that every single relationship, arranged or not, is an unhealthy and unreal one? That no one ever really fell in love or had real case-by-case satisfaction and a real sense of security in their partners? Can there ever be a true, loving relationship in such a world, or is every single person just kidding themselves?

Yeah, it appears GRRM is trying to convey that kids are made to grow up too soon and become victims/perpetrators (Dalton Greyjoy and Aegon II) faster and indelibly under such a hierarchical patriarchal society. Kids like Jaehaerys I when he came into kinghood become in charge of too much, they are entrusted with too much authority and privileges and power too soon, are exposed to violence too much too soon, become murderers and rapists, and are allowed to be and thus developed less empathy for others or even with similar aristocratic backgrounds, must learn how to survive on their own or on their own brain power, determination, etc (Arya and Dany).

I think that GRRM does do well sometimes to convey the nature or some basic principle (emotionally) of sexual violence through the power imbalances engineered through societal male-exclusive power over wives, daughters, mothers, etc., and their sexual liberties. But with sexual violence, it's not about naivete so much as:

  1. he focused more on wars w/o investigating rape and sexual violence for their own sake and why sexual violence is used in war or right before/after wars; how rape is used
  2. he wanted to create a fantasy story means to have us speculate more than actually glean facts about the actual medieval societies that existed as a historical fiction writer would more likely do...no matter what he says, bc that's simply not what fantasy fiction does as a genre, definitively
  3. he's an old white man who wrote his stories in the 70s-80s and published them in the 90s, no matter what his politics; he was not really thinking about the age aspect as a primary thing in power imbalances so much as secondary or tertiary and a consequence of closely-knit marriages in a system of such marriage * heir-making business; apart from the Targs, the society of Westeros itself practices marriage between first cousins ​​& uncles x nieces [2 Stark marriages] or aunts x nephews. The Targs had the exclusive "right" to marry their siblings that reflects a similar motivation between the Andal first-cousin marriages and feudal marriage itself: allocate resources to people as closely blood related as possible to reduce competition and reserve wealth. That Rhaenyra or girls like Arianne (who had a fat crush on Oberyn at some point, her uncle) surprise that Rhaenyra could fall in love with Daemon in such a societal setting. There is no social taboo on such a relationship, so she does not feel/think it as such; she wasn't "convinced" or groomed into being in a relationship w/Daemon. Again, this is IN-WORLD/Watsonian!

I still find truth and satisfaction in his conveying the message I already named; however, I think we can simultaneously acknowledge and criticize the misogyny that he also writes when it occurs. One doesn't succumb to the other.

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I don't think show!Daemon is as...lets call it politically "impressive" as he was in the book, but it is also true he's far more palatable for wider audience in HotD than he is in F&B.

  1. the distortion/revamp of what happened with the Blackwood invasions (in the book/orig canon, Daemon and some riverland houses take house Bracken while the Bracken army goes to deal with the invading Blackwoods...there was never a damn "trial" nor did anyone think there needed to be one bc this was strategy and the Brackens were Rhaenyra/their enemy)
  2. how they somehow allow Daemon to continue to not believe that Alys is spelling him AFTER the Alyssa dream...(no Targs/Valyrians don't fuck their parents/children! This is taboo for them, too)
  3. he drinks from a weird woman's cup after he himself calls her a witch and witnesses her make weird, unknown liquids themselves -> so he never confronts Alys
  4. he never thinks of going after Alys but the very obviously nonmagical Old Man Strong after all this...said obvious and seen potion-crafter (if they wanted to convey Daemon was "spelled" into taking the cup, then they should have made some touches to the scene visually to convey she's spelling him)

No one or most people do not want to see a MAN court a 14/15 YEAR OLD -- even after years apart (Stepstones) before he comes back and spends time with her for a couple of weeks "courting"--no matter the age and setting. People could barely stand when episode 1 Daemon put a necklace around 14 year old Rhaenyra back in season 1 (Let's not pretend that there wasn't suggestiveness there in that scene. Several people noted it at the time, whether positively, inquiringly, or negatively).

That being said, I also don't think the writers liked Daemon so much, considering that even their own toned-down version was so shocking as someone beloved in the fandom (article where Condal and Hess say so even though these two are the same ones who try to make Aegon sympathetic despite making him outright a rapist in their own adaptation)

...AND they refused to really show Daemon as a father, going as far as removing shot scenes of him hugging his daughters and allowing tides to wash over him after Visenya's loss, etc....so.

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Anonymous asked:

Condal will end up using daenaera as a consolation prize for the velaryons and the fandom

"hey... I portrayed the Velaryons poorly but look, your queen consort is a Velaryon"

He might say it's like that and why he wrote Daenaera in, but anyone who read the books would know Daenaera was supposed to be there regardless of how he feels or tries to market.

He'd just be trying to control the impressions of his own competence and honesty by appeasing the green stans of this fandom. Which would fail for the rest bc TG already constantly exposes themselves as absurd in how they read things, but then again, Condal is just hoping to make as best a name for himself in the industry more than be honest.

So if this happens, the very attempt at trying to appease Velaryon and nongreen stan fandom would be him trying to make as if the Velaryon/non greenstan fans are the ones who need the "consolation prize" or the ones who trouble the fandom with stupid shit, and not the greens. Itself misleading and false.

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Women's Suffering in HOTD

One of the most common criticisms of GOT was the excessive abuse (usually sexual) of women. They injected needless and very graphic rape scenes and excessive female nudity (coupled with a pointed lack of male nudity and sexualizatio). Every single female character was sexualized at some point, even if it wasn't written in the books.

HOTD creators expressed how they wanted to cut down on the frankly disgusting treatment of women in their show. They have made a massive deal about this being a "feminist" story that targets the damage of the patriarchy. Which is all well and good, one of the Dance's primary themes is the damage the patriarchy does. However, the way HOTD portrayed it is extremely hypocritical.

From the very first episode, the suffering of women in HOTD was glorified. Aemma and Laena's deaths were changed in the show to be more humiliating to the women. We are shown in detail how traumatic and awful their final moments were.

Now, showing the horrors women were subjected to is not a bad thing. HOTD, however, doesn't necessarily portray this as wrong. The suffering is almost fetishized by the writers and is fully fetishized by certain parts of the fandom.

The moments of great suffering of the women are shot in a way that is meant to make them look delicate and pretty. Again, this isn't necessarily bad, but there's never a moment where the true devastation and horror is shown apart from that. The lines about the injustice women face are paired with messages about the honor of suffering.

The fandom's perception of this is especially telling I think. Certain groups in the fandom glory in how the suffering of women is made pretty. They love how Alicent is reduced to the victim who cries pretty. They revel in Helaena's perpetually sad eyes and lack of agency. They hate Rhaenyra for fighting and wanting to change her circumstances.

Rhaenyra is made to be smaller and more "palatable" so that she may fit the idea of a "good victim" better. Rhaenyra's decision to fight the standards forced on her are what make her into a "gray" character, rather than her morally ambiguous decisions. She is made to be wrong by both the story and the fandom because she isn't suffering prettily enough.

The suffering is almost fetishized by the writers and is fully fetishized by certain parts of the fandom. The lines about the injustice women face are paired with messages about the honor of suffering. Certain groups in the fandom glory in how the suffering of women is made pretty. They love how Alicent is reduced to the victim who cries pretty. They revel in Helaena's perpetually sad eyes and lack of agency. They hate Rhaenyra for fighting and wanting to change her circumstances.

HotD sorta poses sexism's depth and meaning much more from the physicality.

Physical violence sells more bc it is instant impetus towards conflict while still being simple, making it ultimately nonconfrontational when you're using it to "make up" for the removal of nonphysically/sexually violent depictions of sexism. What also helps is that physical and sexual violence against women is also taken to be lot more acceptable/"normal" for a "savage" era of a remote human period/experience (here the medieval/medievalesque) AND for a modern audience with how we're informed to characterize "woman", which is the receiver of stress and mental/physical laborer for the family unit, the microcosm of society/foundation of future citizens.

The lines about the injustice women face are paired with messages about the honor of suffering.

People think ASoIaF is like their rest stop for excusing their own conscious and unconscious biases they don't express often or at all in real life instead of GRRM trying to show how one tries to defend their own lives or right to live and "deserving" of respect and resources that others are privileged to receive with little to no effort. Which includes credibility and social trust to be and have an authority of a skill, cognitive ability, intelligence, competence, honesty, etc.

But as you remove important quotes or actions--maybe saying they are "too extreme" & "unbelievable"--& strip the story of those moments that indicate what drives characters to act violently against women (or those closely associated with them under gendered terms), you inevitably make as if sexism wasn't as much as an impetus for the Dance until it was never the "real" point. No, it was WAR ALONE, class selfishness.

You are actively suppressing the character and supremacy of sexism, therefore even with all the ramped up violence, that ramped up sexual violence IS one of the critical ways they sanitize the Dance apart form removing or distorting the sort of ambition Rhaenyra/Alicent had.

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"jaehaera can't die because martin said she is important as heir to aegon ii"

and HOTD and ryan don't care about that(??) If Ryan doesn't kill her just to throw a tantrum and show how much better he is than Martin about F&B he won't even discuss jaehaera being heir, she will be thrown aside by aegon iii and how he will have more right to the throne than his female cousin.

It's a cycle of misogyny for ryan in HOTD/F&B, Rhaenyra can't be queen because she's a woman, Alicent can't be regent because she's a woman and Jaehaera won't be seen as an heir because she's a girl, she will be thrown aside

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Jaehaera was never an heir for Aegon in F&B. He never even saw her as his heir presumptive, like Maegor did with Aerea and Rhaella. So if Ryan "won't even discuss Jaehaera being heir", he'd be correct. If he keeps to Jaehaera being killed, Aegon III can't be held to the "she will be thrown aside" rationally by anyone bc Aegon was never responsible for Jaehaera's death in the first place; Unwin Peake is the best candidate for that. But if he doesn't as you mentioned, he doesn't have show!Jaehaera killed off by the end of HotD, that impression on the audience could have strength and many more people would have ground to just say "two canons", GRRM "changed his mind" , or that "unreliable history book" to argue either/both why they "like" this ending or that Jaehaera does become Aegon's children's mother/Daemon Blackfyre's grandmother. Their biases against the tb, if they have any, will also become the stronger as to them accusing the child Aegon III of maliciously setting aside such a poor, good girl like Jaehaera even in canon.

Rhaenyra not being able to be queen for more than a few months was already canon. Alicent not being made a regent at all is also canon; Aemond was made Prince Regent in canon instead despite bk!Alicent's pre-war efforts and principal act in the beginning of the conflict. So Ryan/the writers depicting these is fair play.

So it's not a clarification of a cycle of misogyny for Ryan in this hypothetical. It's him rewriting stuff and passing them off as "true" ot the book or "better" when they are just distortions that impair the "points" being made in the orig canon.

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Exactly what I've been saying abt this show! [post #1; post #2; post #3; ]

And people would try to argue that "HotD does address misogyny"...okay there was no getting out of it since the actual war began bc of Rhaenyra being a woman.

But the show tries to steer clear of the most egregious, obvious, verbally expressed signs of ideological sexism, implies those as "too extreme to be real", and replaces it with Viserys "having to" destroy Aemma's life, with mistreating Rhaenyra because of a prophecy he doesn't have a handle on. Which then has Rhaenyra/Alicent

try to deflect to "prophecy" to when a Targaryen either gives into patriarchy or resists it. [rhaenintime on Twitter]

ace_pencil & @rhaenin-time are correct: they want the credit of "addressing" patriarchy (through violence), but not going as far as showing all of the details that show the depth of the misogyny. So it appears that the Dance was not written to show how sexism destroyed the Targs AND plunged the greater Andal-First Men Westerosi society into a civil war, but that the Targs were obsessed with prophecy.

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Anonymous asked:

if ryan really gives me the gift of giving maelor's death to jaehaera, or maybe advancing her death so that helaena at least has an acceptable reason to die, how do you think he will explain this?

Or do you think he won't explain anything about why if this change happens? because until today I haven't seen an explanation from him as to why Maelor doesn't exist

I think it depends on whether he'd try to speak to both show-only & book-first audiences or just one over the other. To exclusively book first-people, he'd probably imply they were being unfair to him & repeating that GRRM is an exec or was involved, or eh won't mention GRRM at all. To exclusively show-onlys, def production stuff, the writer's strikes forcing him to compress and cut out "ideas" he had about this season, inclu Maelor. To both, a little of each AND not wanting to hire "extra" children...even thought he technically didn't need to have toddler Aegon III and Viserys II & should have either did them with "mentions" or use them in the final farewell in I think episode 7 and that's it, so he could make much more room for a toddler actor for B&C.

AND, he'd cite, again, how he didn't want to make Jaehaerys's death (as Maelor's presence there was critical) had to be "toned" down was still good and "gory enough", esp writing GRRM's noted about how Phia's performances of grief were stellar...without mentioning how GRRM also said the B&C thing was not as strong as his own. Basically, he'll cherry pick to shield himself.

It's possible that Jaehaera's death will be all the more worse than Maelor's canon to "make up" for his absence.

OR, if Condal chooses to depict Jaehera's death Maelor's way as it was in the book with just suggestive visuals and/or suggestive sounds, some of the audience who don't know what happens to Jaehaera will hate the writers for preserving Jaehaerys from a terrible, too-gory scene while Jaehaerys' was "comparatively" less gory. If/when he says this has always been the death for Maelor in canon and he's just switching it for Jaehaera, then it could go south for GRRM for "creating horrible deaths for poor children". Some sort of revenge for Condal for that post GRRM wrote.

He could also, maybe simultaneously maybe not, argue that it emboldened Aegon/Alicent to fight more against Rhaenyra--whether Aegon is shown to have genuinely feel the same "level" of grief he felt for his Jaehaerys or not--and be "one of the many unforgiveable things that suck the entire family more and more into vengeful slurry so there's possible way of reconciliation" or "another death against the blacks"...which could mean that he won't make Daeron willfully sack Bitterbridge...He'd also probably use it to further make more Alicent-self-pity points and or make her regret allowing Rhaenyra take over KL, therefore suffer for his ridiculous rewrite of her.

Perhaps somewhere down the line the guy will finally just stick to the ole "We have told people from the beginning that this is an adaptation of an unreliable series" and imply but never explicitly say that he's making his own thing...or making things up as he goes along.

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Anonymous asked:

Your math is not mathing, how can Aemond be twelve in ep 6 when he wasn't born before the time skip of ten years? The next time skip is about six years so Aemond in the show is younger than his book counterpart. Another proof is Aegon's words that his father didn't name him heir in twenty years meaning he is in fact twenty meaning Helaena is 18 as she was born two years later and Aemond is about 17.

You reminded me to check and confirm what you say. In this WinterisComing post, it is said that Ryan says, “Young Joffrey is around 6 or 7. As for the other kids, showrunner Ryan Condal says they’re all in “the 17-21 age range.” As if that helps things at all.... In this Elle article, we see the writer themselves not really knowing what’s happening. So I had to buckle up and do some....math (dun, dund\, dun).

By episode 2, we hear Viserys say that Rhaenyra is 15 and in the very beginning -- with a black screen -- we find out that the show’s events occur 172 years before 284 A.C. when Daenerys was canonically born. 

So we are supposed to be in 112 A.C when Viserys is hosting a tourney for his soon-to-arrive son Baelon. Rhaenyra is still 15, but Alicent’s been aged down to match her (when she would have been already married to Viserys I for 6 years by then [in canon, they marry at 106 A.C., when Alicent is 18 and Viserys is 29/30]).

These are the Book Ages at 112 A.C.:

  • Rhaenyra - 15
  • Alicent - 24
  • Viserys I - 35
  • Daemon - 31
  • Criston - 31
  • Laena - 20
  • Laenor - 18
  • Rhaenys - 38
  • Corlys - 59 
  • Otto - 36

And the Book Ages at 131 A.C. (end of the Dance):

  • Rhaenyra - 33*
  • Viserys I - 52* (age by death)
  • Alicent - 42/43
  • Daemon - 49*
  • Criston - 49*
  • Otto - 55
  • Laena - 27*
  • Laenor - 26*
  • Rhaenys - 55*
  • Corlys - 78
  • Baela - 15
  • Rhaena - 15
  • Aegon (II) - 24
  • Helaena - 21*
  • Aemond - 20* 
  • Daeron - 16*
  • Jacaerys - 16*
  • Lucerys - 14* 
  • Joffrey - 13*
  • Aegon (III) - 10
  • Viserys (II) - 8

The Show Ages at 111-2 A.C. for everyone is the same as canon except Alicent, who is 15. She and Show!Viserys marry episode 2, where Rhaenyra and Alicent are still 15.  

Three years pass after episode 2 and Alicent is heavily pregnant with Helaena and has already had Aegon the Elder, who Viserys says is 2 years old.

Since Alicent is aged down 9 years, her children are aged back.

So by episode 3/115 A.C., the Ages are:

  • Rhaenyra - 18
  • Alicent - 18
  • Viserys I - 38
  • Daemon - 34
  • Criston - 34
  • Laena - 23
  • Laenor - 21
  • Otto - 39
  • Rhaenys - 41
  • Corlys - 62
  • Aegon (II) - 2 

It’s only a few months to episode 4. Helena is an infant, Aegon is maybe still 2 or he’s 3 in episode 5. None of the Velaryon boys exist yet.

Episode 5 passes straight after the events of episode 4, so the things of episodes 4 and 5 all happen in under a year.

However, canonically by 115 A.C, Aegon the Elder is 8; Helaena is supposed to be 6, and Aemond is 5, and Daeron is supposed to be around 1. 
Jacaerys is supposed to already exist and is 1 here not long after the events of episode 5.

By episode 6, 10 years pass and it is 125 A.C.

Laena and Laenor are both supposed to be dead by 120.

The Ages in 125 A.C./episode 6 are:

  • Rhaenyra - 28
  • Alicent - 28
  • Viserys I - 48
  • Daemon - 44
  • Criston - 44
  • Otto - 49
  • Rhaenys - 59
  • Corlys - 72
  • Aegon (II) - 13
  • Helaena - 12
  • Aemond - 8/9 (nothing is given, we just have to go by canon-inspired subtraction/adjustment)
  • Daeron - 4/5 (???!!! and he’s supposedly in Oldtown at that age?!)
  • Jacaerys - 6-10 (we’re not given a specific bday in the show)
  • Lucerys - 5-9  (we’re not given a specific bday in the show)
  • Joffrey - 0 (freshly born)

Rhaenys says she last saw Corlys 6 years ago in episode 8. The Ages in 131 A.C./episodes 8 - 10 are:

  • Rhaenyra - 34
  • Alicent - 34
  • Viserys I - 54
  • Daemon - 50
  • Criston - 50
  • Otto - 55
  • Rhaenys - 65
  • Corlys - 78
  • Aegon (II) - 19
  • Helaena - 18
  • Aemond - 14/15 
  • Daeron - 10/11 (he’s still supposedly in Oldtown?!)
  • Jacaerys - 12-16  (we’re not given a specific bday in the show)
  • Lucerys - 11-15  (we’re not given a specific bday in the show)
  • Joffrey - 6
  • Aegon (III) - ~ 2
  • Viserys (II) - ~ 1

Again, since Ryan Condal and the other writers changed the age for Alicent and basically moved everything forward, this is the result of what the ages were. I used the canon ages and calculated when I could. Let me know of anything to consider changing.

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When we get to S1E3, 3 years passed. It is 115 A.C. in S1E3; episodes 4 & 5 are mere months after the events of episode 3. S1E6 tells us that 10 years since then have passed.

Aemond didn't exist yet by S1E5, and Helaena is still an infant, months old (she didn't exist in S1E3, Alicent was still pregnant with her).

Rhaenyra had none of her boys by S1E5. We can only assume Jace was supposed to have been born a year or so after her marriage to Laenor, after the wedding in S1E5.

So in S1E6--when 10 years went by--Jace has to be 9-10 and in S1E8-10, he's 15-16...

Which means Luke has to be, AT MOST, 8-9 in both S1E6 & S1E7. (Because we have to give the grace of 9 months of pregnancy with Luke right after whenever Rhaenyra birthed Jace, and women can get immediately pregnant after having already birthed.)

In S1E8, Rhaenys says 6 years passed. And only a few months have passed between episodes 8-10. Luke dies in episode 10, so he can only be, AT MOST, 15. but Rhaenyra says he's 14 in S1E10, which is acceptable and goes nicely with what we know about how time has passed so far.

Luke: I can't be Lord of the Tides. Grandsire was the greatest sailor who ever lived. I get greensick before the ship even leaves the harbor. I'll just ruin everything. I don't want Driftmark. It should've passed on to Ser Vaemond. Rhaenyra: We don't choose our destiny, Luke. It chooses us. Luke: Grandsire let you choose whether you'd be his heir. You told us so. Rhaenyra: And do you want to know the truth of it? I was frightened. I was four-and-ten. Same as you are now. I wasn't ready to be Queen of the Seven Kingdoms.

Meanwhile, bec Aemond didn't exist in S1E5, he must be, AT MOST, 10 years old in S1E6 &E7; 16 in S1E8-E10. (Reminder, this is because the writers aged down Alicent.)

Ryan Condal is wrong or he's lying to try to make Aemond less hated or to alleviate the fallout against his messed up timeline. Willing to back track on his own ages and math's existence. Lucerys was 2 years away from legal adulthood; Aemond was a fresh adult; doesn't make it any less a murder. Nor does it make aging Alicent down any worse a choice or so obvious that you've thrown out consistency for your own project and/or lied about it to save face.

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Anonymous asked:

I think there's a certain irony in the fact that Rhaenicent ended up being the reason why Alicent's character was ruined. In the first season, the writers changed her age, invented a sad backstory, and created a friendship with Rhaenyra, all to make her more of a sympathetic victim. I remember the Team Black never liked this because many of these changes were made at the expense of taking away moments from Rhaenyra or eliminating parts of her story, like her friendship with Laena or her entrance in the black dress, which originally belonged to her in the book.

When Team Black fans voiced their displeasure with these writing choices, warning that they would harm the plot, the Greens (mostly fans of Alicent and Aemond, characters who benefited a lot from these changes in the first season) told them to stop complaining, saying that the show was better for giving more depth to characters who didn’t have much in the book. They claimed that the TB was just angry because their favorites were becoming more likable. In the end, the TB was right. Those changes to Alicent’s character and her friendship with Rhaenyra ultimately harmed not only her character but all the Greens characters as well. Which, in my opinion, is pretty ironic.

Absolutely. People on TB, inclu myself, were not really, expressly concerned w/Alicent's characterization for her own sake I will admit that. At the same time, they/we preferred Alicent to act with the agency she displayed in the actual story and grew more and more disgusted with the disengenuous righteousness of portraying Rhaenyra as "spoiled" to Alicent's "dutifulness", which worked to be a disservice to both women. Their relationship and the dichotomy, even for the change for best friends turned enemies they created wasn't even given the proper development or "explanation" on the friendship side that it should have. You can also look at my earliest hastagged "alicent's characterization" posts where I and others complain & criticize Alicent's character of season 1 for more.

TG has often, for a few years, relied on the whole "complex character" bull crap, and I wrote a Twitter thread back in June abt why/how they use the word. Often enough, though, we call a character(s) "complex" bc they suffer to a degree or type excessively and/or for a sustained amount of time; that is because with suffering, people can tend to build up varied coping mechanisms & defenses that could lead them into self/outer(ly) destructive places. And these can drive a story forward, as the greens provide the central conflict of the Dance/succession crises by being the ones plotting/usurping Rhaenyra. The consequences of their reasoning affects their own relationships with each other as well as their supporters. The greens' shitck is that they are just wrong, both for the sexism and how they think their rulership means for the rest of the realm's lords.

But:

  • the greens are still pretty static with how the show is written; bc of their goal and how they grew up, they do not have a positive character development...it's more of a constant revealing action from their potential for violence
  • not all complex characters are credited as such in fandoms bc a lot, or the most vocal, of the audience thinks that character is too unlikeable to really explore or credit their motives as worthy of some grace so much as how it may affect them alone if it was in real life, as to create their own blindspots
  • a character like Daenerys Stormborn, who is pretty morally sound gets reduced to a future-mad-girl who killed poor slave masters, and her actual psychological journey gets misinterpreted--purposeful and not-so-much--and dismissed...this girl has one of the most complex characterizations in literature/media. Her feelings about leadership formed from her experiences and pondering over the relationship b/t a leader and those they lead, small concessions of the heart for intimacy or big ones for safety, how she thinks of her family's recent and longer history and legacy living through her, her emotional maturity overlapping with many signs of her temper and compassion, etc. Her campaign to kill the masters vs her desire to re-conquer Westeros bc of said relationship and the redefinitions of "duty" and love (love for her people and humanity, what is such a thing and how to realize that?). So "complex" doesn't always mean "morally questionable".

Don't get me wrong, I love me some toxicity or some sort of non-ordinary challenge/high stakes in my fiction. Most of my stuff are, and many provide me with catharsis when it is characters developing healthier ways of community, communication, romance, whatever. I also find catharsis when things don't work out so nice, like Claudia's fate in Interview with the Vampire--not bc I hated her, bc she's actually my favorite--bc the story validates the tragedy/horror/sadness's large significance, motivation, or presence in a human's experience under a safe environment (your couch, etc.), thus affirming a fuller sense of one's "humanity". While still thrilling. Claudia was doomed bc she was a child amongst adults who used her to force bonds between themselves and she was forced to become a monster herself to survive. And was punished for that. I love characters toeing the line between grotesque and safe--it's an adventure.

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Anonymous asked:

Alicent and Rhaenyra are merely “rough edges smoothed out” shadows of their book counterparts.

And to compound the issue, they lose all of their agency as characters because they simply do not have any agency for themselves, as they are simply “slaves” to Viserys’ prophecies... they’re just interested in the throne because Viserys tells them they should be through the prophecies he passes along to them instead of a personal desire for it.

They’re just doing what the “man in power” tells them instead of actually wanting the power for themselves like Cersei did... which is what made Cersei such an engaging character and why characters like Alicent and Rhaenyra feel rather tame and “safe” in comparison.

I say the same things HERE and HERE. So I don't disagree at all.

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