House of the Dragon doesn't add up
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- čas přidán 18. 06. 2024
- THERE IS NO QAROL IN HR.
This is just an abridged version of another video, so if you've seen that one there's nothing new here. I hope to have something new out next week!
Hi-res pictures of my madness board: imgur.com/a/EzWCzic
be nice to me on twitter: / m1randabeastly
00:00 - Oops
07:40 - The Timelines
11:36 - "Historical Accuracy"
15:56 - A text in conflict with itself
22:32 - Conclusion
#houseofthedragon #houseofthedragonseason2 #asoiaf #hotd #hotds2 #gameofthrones #targaryen #grrm #fireandblood #aegontargaryen #aemondtargaryen #helaenatargaryen #lucerysvelaryon #jacaerysvelaryon #baelatargaryen
#rhaenatargaryen #daerontargaryen #saveDaeron #rhaenyratargaryen #alicent #daemontargaryen #viserystargaryen - Zábava
I feel like the entire first season should've just been the younger actors of Alicent and Rhaenyra and covered storylines that were skipped or rushed like for example Criston killing Joffrey or Alicent's relationship with Rhaenyra right after her marriage or right after the birth of Aegon. The whole weirdness of Viserys trying to turn Jacerys and Daeron into basically brothers. We would've also gotten to know characters like Laena, Harwin and Lyonel and lot more.
Yeah I can understand they were given only a limited amount of episodes by the network and they wanted to end the first season with the Big Chomp because it's a great hook for a season two, but it felt like so much of the story was missing. I would love it if we got flashbacks, I know there have been rumors 🤞
there's not that much to stretch into a full season. Maybe an extra episode pre and post time jump so a 12 episode season. But two full seasons before even starting the war is too much set up.
Laena and rhaenayra friendship
I think the characters ages that bother me the most are Joffrey, Aegon the younger, Viserys, and the twins Jaehaera and Jaeherys. Because in the books they have important scenes but it’s not gonna work if most of them are toddlers (which is how old Maelor is supposed to be.) Not to mention idk what the show is gonna do about Daeron. 😂
Yeah I think they'll definitely cut Aegon the younger escaping the battle of the gullet on Stormcloud, if only for budget reasons. I wonder if they'll stretch the length of the actual war so it's longer than 2 years to allow them to age up a bit.
It disappoints me that it's looking like netles isn't going to be in the show at all
I think the one that usually stands out as most ambiguous to me is when Rhaenys mentions Corlys left 6 years ago, maybe it was more like 7 or 8 years if Corlys did not leave right away after Laenor died. But yeah, it's a mess at times.
The "nearly 20 years" line makes any padding in the timeline impossible. Believe me I looked for it, I tried to make it make sense 🙃
The tragedy of HOTD is that you can craft complex female characters, you can craft a Sophoclean tragedy with Leper King Viserys, you can have refreshingly great dialogue for most part (we need alliez!), you can have emotional masterpiece moments like the dance of the dragonlings during the dinner or Viserys in front of the fire....& for the next year the ONLY REWARD you get is stans with the EQ of toddlers going "Alicent had agency & she was cunning" (addressing it later), OR "we wanted Laenyra" (bc I'm too blithe to realize the "lost frienship" adds a personal layer to the future heartbreaks, instead of this being a bland evil-bro-steals-throne-from-pure-sis war, but my only aim is to deprive the other team of screentime by wasting it on characters who die before the Dance),
OR "why Helaena getting dragon dreams" (bc I'm a doof who thinks prophecies in awoiaf are supposed to help the gurlboss save the world & I don't see the tragedy of a mute Cassandra having it), OR deliberately misinterpreting touching moments like the "do you love me" carriage scene & going "but she hates him bc she beats him!" (bc her being harsh to her eldest son as she's put all her sacrifices & hopes in his basket has to be spoonfed to me, like every subtext if it's characters of the other team), OR if you're a Greenie you going "why didn't Aegon come out the womb looking like the badass that burns Shepherd" (bc character arcs exist & a backstory of a loneliness & licentiousness
adds to his future portrayal), etc. The fandom is never going to forgive HOTD for daring to do something better than silver queen gurlboss warlord vs disney evil stepmom.
**People cry about bias, but subtle moments like Rhaenyra not knowing you have to pay to buy food or saying "their wants are of no consequence" about the smallfolk & Mysaria flipping it by telling Otto "there is no power but what the people allow you to take" is already a better setup for her eventual "betrayal of hope" heel turn than Dany's amgery constipation face.**
Finally, let's talk about agency. A female character does not have to be either the "perfect victim" or "not trying hard enough to be a villain". We can do more than the conniving, manipulative GoT Margaery Fatal Attraction Bad Bish archetype. Alicent's ambiguity & moral dilemma IS relatable. Normal ppl ARE inconsistent, they vacillate, the diff relationships in their lives often contradict each other. But why have her being pulled by centrifugal forces of patriarchal feudalism when you can have evil stepmom! Obsessing over "clear goals" like irl bad guys walk around with a Joe Goldberg voice & a binder labeled EVIL MASTER PLAN in hand? Stories of passive characters reacting to conditions they're forced into IS reflective of the lives we actually live. What's funnier is Alicent is portrayed with a level of warmth & humanity ("all I wanted was some to say sorry for what happened to me") unthinkable in the "you sound like a bloody woman" world of GoT where women are either manipulative jezebels or sex toys like Osha & Roz.
The fandom trying to wrap their heads around thematic choices that don’t directly propel the plot forward in a linear line, howling about fictional “agency”. Characters exist within a story to convey themes that the story is exploring. Every adaptational change HOTD made was with the purpose of emphasizing that misogyny cannot be separated from the way political & social schemes were carried out under patriarchal Westeros. So yes, it means women being shown as victims in a way that would not have been included in historical documentation(F&B) of the very men who upheld that society.
lol happy i wasn't the only one frustrated with this. to me it becomes a blatant issue with aemond, his age gets used by fans so much to push their biased opinion, he goes from being treated as an innocent baby to being an adult fighting a toddler
I feel threatened by the sword being pointed against me all the time by a crazy lady.
Liked and subscribed
You are hilarious. Happy I found your channel. Cant wait for your season 2 videos
I gotta say I’m not sure if I should be weirded out on how obsessed you are over the show to go to these lengths , but I applaud you for your dedication and enthusiasm over sniffing out the mistakes ❤❤❤😂😂😂 never stop being you 🤘🤘🤘🤘🤘🫶🫶🫶🫶
I get weirded out by myself sometimes! I just smelled something was wrong and then I got obsessed with solving the mystery lol.
@@QuinnFirstOfHerName lol u rock I shall call you Sherlock Holmes from now on u nailed the mystery 🫶🦋
"we've all been hurt before..."
I wonder how old Daeron is
Yeah they could make his existence not a retcon if he's a much younger child, but it seems unlikely that Viserys would have been physically capable past a certain point. In the book he's the same age as Jace, which would technically only be possible with the cannon timeline as it stands if he's somehow Aemond's secret twin. The Daeron situation is a mess.
I'm pretty sure he's the same age as Jace.
@@gig7932she got all the other stuff wrong as well
I have this feeling that Daeron arc will be given to Helaena. Maybe she gets sent to Oldtown after Blood n Cheese horror show and does the Daeron things!
@@kedrprao no daeron is a thing and has been confirmed to show up…giving her his role makes no sense whatsoever considering her end lol but dareon was already teased when daemon said the greens had 4 dragons
The one thing I'm hung up on is that King Jaehaerys is half black since his mama is a Velaryon. His mama is the daughter of a 'Lord of the Tides', however, the man who sat on the throne in the very first scene of the show is a whole white man. And before anyone says he could be super light-skin, Laenor and Laena's mama is a white woman, Baela and Rhaena's daddy is a whole white man. Those characters still came out clearly looking like one of their parents was full of melanin. Laenor and Laena had dreadlocks/frizzy hair, so did Baela and Rhaena. Where were Jaehaerys's frizzy curls and/or dreadlocks? If the Velaryon's are traditionally black, then King Jaehaerys should've been Lionel Richie instead of Casper the friendly ghost. Also, this ain't a Baelor Breakspear situation. Those Velaryon genes are notoriously difficult to rid, since it's an obvious point of contention in the show.
To this point, Baratheon's are known for their strong genes i.e. blue eyes but more importantly black of hair. This is why Rhaenys having black hair with a white streak in the books made sense. Also, Princess Rhaelle, the daughter of King Aegon V married a Baratheon. Their son, Steffon had the Baratheon features. So did his sons, Robert, Stannis and Renly.
But you did say that this could be a third timeline... Where things make little logical sense.
What if in show canon, Aemond is Alicent's second child and it was Helaena who was born during the time jump?
That might have worked, and it wouldn't have even changed anything significant story wise. It would have aged down her children by about 1-2 years at most, but they definitely could have gotten away with it.
My theory is that there could be a time jump of about 1 year within episode 5. Within that one episode we go from arranging the marriage between Laenor and Rhaenyra to them being married. And planning for an event such as royal wedding takes a lot of time, I would expect that the wedding didn't just happened the week after, the way they make it look in the episode. There could have been about year of planning during which Aemond could have been born.
Bro, this video just reminded me why I'm always so terrified of specifying time passage in anything I write: short stories, fanfics, fvcking book reports. I don't want to flub it all! That's scary. And then nothing is consistent and I have to go revise the work 17 times per day to either fix it or to remove any sort of remaining proof of time passage? I feel like ambiguity would've done them better.
As much as I loved the dynamic between Alicent and Rhaenyra being besties instead of just cordial friendly women turned apparent enemies, that really did a number on the continuity. rip
I've read a fanfic that had a character be pregnant for 10 months and, while she was close to the "end" of her pregnancy, wasn't ready to pop at any moment. All because the author kept making semi-random comments about how much time was passing in the story without keeping tract of everything.
i have been telling everybody this for over a year - thank you for putting this whole timeline problem into words. keep holding their feet to the fire
I'm glad other people noticed it too. It wouldn't bother me so much if it hadn't been so easily preventable. They just had to make the first big time jump 2-3 years longer!
Some of the writing in HOTD have been criticized for making characters more sympathetic than their book counterparts, at the cost of character agency. This reading makes sense from the perspective of modern narrative conventions, where we expect the plot to be fully character-driven; however, I contend that HOTD is telling a fundamentally different story that hews closer to the sensibilities of Ancient Greek tragedy. While Greek tragedians took stories of a mythical past and infused them with humanity, HOTD is is doing the same with a fictional history book. The idea of fate as a driving factor in our lives has been fairly unfashionable since the Enlightenment, however, it can still be a compelling factor in storytelling. The Ancient Greeks certainly thought so, as many of the great works from that literary canon centre around the inevitability of fate. Oedipus Rex is a favourite example of this, where Oedipus is desperate to avoid fulfilling a prophecy in which he commits patricide and incest with his mother, and through a series of misunderstandings, ends up doing exactly that. There is also the curse on the House of Atreus, where the gods curse an entire bloodline for an ancestor’s transgressions (perhaps some parallels to Valyrian blood magic here?), most famously explored in Agamemnon.
Fate doesn’t just have to be prophecy and the meddling of the gods either, it can define the lives of tragic characters through the norms of society, the ties of blood, the narrative itself, and basically anything else that limits one’s choices. HOTD has definitely played with these trappings of “fate” all throughout Season 1, most obviously with the Song of Ice and Fire casting prophetic shadow over the entire Targaryen dynasty, but also how gender and legitimacy restrict access to power, while family loyalty only makes one prisoner to the wishes of kin. Take the concept of duty, for example. Alicent exemplifies duty to society by sublimating her individual desires; Rhaenyra indulges in her own happiness because she believes her duty to the realm is even larger. Is it still a choice if you believe there is no other way, or does it then become fate? Not even kings are above the rules.
In this context, the HOTD versions of Alicent and Rhaenyra being less villainous than their F&B equivalents is a clear extension of this theme of a deep and devastating lack of control. S1E9 and S1E10 both show us these lead characters trying to prevent war, when the people around them have already leapt off the precipice toward it. We could call this “whitewashing”, but I choose to view it as the tragedy of being too late: the war was decided by actions long ago, old wounds years in the past (some literal), ancestral grudges as tradition, and half-forgotten prophecies spread too thin.
Oedipus believes the prophecy refers to his adoptive parents and leaves Corinth; Alicent believes Viserys’ dying words refer to her son and usurps the throne. Both are victim to hamartia, meaning “fatal error”. There is some controversy over whether this means a personal flaw that is inherent to the character, or a mere misunderstanding that leads to a reversal of fortune. I think it’s both. Oedipus and Alicent bring about their own downfalls by misinterpreting something: a fatal mistake. However, Oedipus makes his assumption because he wants to believe that his true parents are the ones who loved and cared for him since he could remember, the same way that Alicent wants to believe that all her sacrifices meant something because her son was special: a fatal flaw.
Aristotle describes the ideal tragic hero as having a balance of two extremes, “a man who is not eminently good and just, yet whose misfortune is brought about not by vice or depravity, but by some error or frailty”. Take note that “hero” here simply means a main character that the audience is invited to understand the suffering of. Beyond the fact that it’s just not sustainable for a character to start villainous and remain villainous for 4 seasons of a TV show, we need to believe in the initial goodness of Rhaenyra to feel the tragic irony of her later deeds. Even in the limited canon of this single season, making Rhaenyra a more peaceful character gives her room for inner conflict. There is not much moral complexity in a character who commits evil without a flicker of hesitation; now the viewers can wonder alongside her about what Viserys would want his legacy to be, the idea of vengeance as justice, etc.
The problem with the perspective that Alicent and Rhaenyra have been made more passive is that it is focussing on the wrong time frame. By S1E9 and S1E10, the lines have been drawn, events have spiralled wildly out of control, and we can trace it all back to the previous actions of our two main leads. Alicent has already poisoned her children against Rhaenyra and refused previous opportunities for reconciliation. Rhaenyra has already left King’s Landing to the machinations of the Greens and shown more concern for insults than injuries. Now, not only are Alicent and Rhaenyra trapped by the exclusion of women from power, the pressures to commit brutality from Otto and Daemon, and the circumstances of Viserys’ death- they are also trapped by the consequences of their own choices. Is Oedipus a passive character because by the time we experience the text of the play, it’s been years since he killed his father and married his mother? Character agency doesn’t just mean committing unflinching violence, it also means watching a character make mistakes that will doom them later, although they don’t realize it at the time, still arrogant and ignorant until their world is slowly destroyed.
It sounds a little oxymoronic, but being trapped by fate can also open up the story to more interesting choices later on. Take the example of Luke’s death being portrayed as an accident. There are unstoppable forces at work (fate, dragons, maybe just Vhagar herself), but Aemond’s actions unambiguously led to Luke’s death. Now he must make a difficult decision: embrace the mantle of “kinslayer” and face fearful ostracism from others? Or admit the truth and face derisive ostracism from others? In the original text, there is no such choice to make, and as such, no opportunity to ponder whether it is more important to preserve the image of Targaryen control over dragons or to maintain personal honour, one of the most important facets of conduct among noble peers in Westerosi (and Ancient Greek!) society. If Achilles were an insane murderer without conscience, he would have been struck down as soon as he hitched Hector’s body to the back of his chariot. Given some interiority instead, we measure the value of great heroism compared to desecration of religious rites.
Making characters more sympathetic, tying them deeply to people and values that restrict them, and introducing the cruel randomness of fate means that the audience can better experience the bitter dramatic irony of watching a tragedy unfold. This occurs over and over again in Greek tragedy and beyond. In Hippolytus, Theseus condemns his own son to a painful death based on false information, not bothering to clarify first. In Antigone, Creon thinks he is acting in accordance with the will of the gods when he brands Polynices a traitor, not realizing that the right to proper funeral outweighs the crime of treason. In a work heavily influenced by Greek tragedy, a curtain makes the difference between Hamlet’s targeted revenge and the murder of an innocent man.
Does it make these stories any less tragic that they started with a mistake? Do we consider that mistake to be a result of personal flaw? These works are all about characters realizing that they didn’t mean for it to go that far, far too late, and I believe that HOTD follows a similar pattern. If the misunderstanding in question would not have occurred with a different character in the same place, perhaps fate didn’t even need to nudge our purported hero onto the path of tragedy. No one else but Alicent would delude themselves into believing Viserys meant for Aegon to be king, no one but Rhaenyra would have the audacity to insist on her sons’ legitimacy at the cost of life and limb (eye?), and no one but Aemond would chase after a scared boy in a raging storm on the largest dragon in the world without expecting it to end in vehicular manslaughter. And that’s tragic. It’s quite an uncharitable reading to assume that there is no overarching narrative point (other than pandering) to changing some characters to be sympathetic or making them victims to misunderstanding.
I have been similarly obsessed with this very topic!! There is not a single writer that can math and it shows. This is a hot mess and it was easily avoidable and it baffles me to no end.
Yeah that's what annoys me the most. They very easily could have made it make sense!
Alicent : Alicent wasn't shocked about the usurpation, she was shocked that the Green Council undercut her & made plans behind her back. It highlights the theme of medieval patriarchy by showing that despite outranking them, Alicent is still looked at as "lesser" & "unreliable" in the eyes of men like Otto, who only value her for her feminine obligations. This common perception that Alicent allowed herself to get totally ran over by the Green Council & was a hapless victim only makes sense if you didn't see Alicent by the end of the episode secured Aegon, arranged his coronation according to her own specifics, defeated Otto's spy network & undercut his plans to deal with Rhaenyra, put Criston in charge of the Kingsguard, & attempts a peace deal.
Aegon : The complains about Aegon was the worst next to Alicent when they beautifully set him up for a future arc. They showcased the corrupting power of privilege while tying it into the overarching theme of patriarchal westeros. It's when an enabling society removes accountability from the privileged to such a degree that they don't even fully understand the ways they're dehumanizing "lesser" beings like the maid. Aegon, despite himself being a victim of the ruthless aristocracy of westeros, releases his own frustrations on these "lesser" beings. It's a cycle of hurt people hurt people. It's actually a great thing that Aegon did not crawl out of his crib as the badass illustration of "The Shepherd Burns". It makes more sense that just like the facial scars, the personality comes as a byproduct of his ups & downs during the Dance rather than it coming in-built as a teen & him remaining unchanged the rest of his life. Aegon's personality is inseperable from his tumultous reign. One shapes the other. That's why by the time we get to Dragonstone, he'll be unrecognizable from the kid in the window. That is what makes for a character arc, something non-existent in F&B. Apart from the sexual deviancy, whatever brief screentime he had was devoted to them showing the lonliness & vacuum of his childhood, the pressure of being the firstborn son & the validation he seeked from his father but never got. They've already set him up with the three defining traits that the "quick to anger & slow to forgive" King Aegon II of F&B actually goes on to have: depression ("let me sail away"), resentment ("do you love me") & resilience ("we know father"). In conclusion, all the "book Aegon is so much more badass" stuff is remedial. We're just at the coronation. The only real thing we know of F&B Aegon at this stage is the line about his whereabouts the day Viserys died & him giving the Green Council an ultimatum about naming him king. So it's almost equivalent to complaining "they ruined Theon, he's more important than Robb!!" at the end of GoT s1. I think they made a conscious choice to hide his power level & bait & switch the audience on Aegon's importance until he sat the throne.
Criston : It was such a grave sin to craft his character to serve the overarching theme of patriarchal feudalism instead of Generic Cool Alpha Male Badass Warrior #645789. They effectively made Cole into a loathsome "nice guy" woth repressed undertones & if you're mad tou already got Doctor Who for your fill of Edgy Badass! If that's not enough you got Goth Euron Eyepatch Kid! I guess you can never have too many Generic Edgy Badasses Maybe they shoulda made Lionel Strong a Edgy Badass too! But let's get to the real complain. The wedding kill & guest rites. Criston got off BECAUSE punishing a Kingsguard ultimately comes down to the king regardless of how unprecedented the venue was or how high ranked the victim was. Just cause a similar incident didn't happen in ASOIAF, doesn't mean the authority to dish out the punishment suddenly changes hands. So, all it actually takes for Criston to live is Viserys' mercy, regardless of the nature of the crime. If Viserys refuses to punish there's not much you can do no matter how powerful you are. Robert forgave Jaime & Mountain for the murder of a "high ranked" Martel, while Ned could do nothing. Laenor himself wasn't gonna be able to do anything without Corlys' backing. And Corlys had no real incentive to push for punishment as that would've brought his son's sexuality into the forefront. So it's not a stretch to assume Viserys acquiesced to Alicent & spared Criston as a compromise/olive branch for depriving her son from being the heir. So Criston living was an example of Viserys' incompetence. WHICH IS THE THEME OF THE FIRST SEASON. That Viserys' weakness, leniency & habitual bad decisions predestined his two families to a civil war. It's the same lack of critical thinking that people show when they ask why wasn't Alicent punished in Driftmark? Cause no one will punish the KING'S WIFE unless the king greenlights it. And Viserys was no Henry VIII. Lesser standings were never gonna risk taking the initiative knowing very well that her son could one day become king and then "the prince will remember that little lord".
Hotd s1 makes perfect sense if you don't close your eyes to themes & motifs being conveyed & don't chalk up multi-dimensional characters having internal conflict as "bad writing" & "inconsistency". Like for example, someone wearing a green dress doesn't mean they're gonna frozen in time for the next 16 & will never have second thoughts, misgivings & pangs of conscience. Someone can internalize the "last words" of a dying king as a defense mechanism **for themselves** because they're painfully aware they're about to send thousands of ppl to their deaths. Etc. My humble opinion is that a vast majority of the "the white hat means writers chose rhaenyra!!!" sports team disney brains aren't capable of processing the themes hotd was dealing with. Just like it's incomprehensible to them just how much better the silent creeping horror of helaena's eyes were than her screaming & throwing up would've been.
The worst thing D&D did was make a whole generation of shallow minds believe that the Cersei-Maergery Bad Bish girlboss caricature is the only way you can portray "strong women" antagonists.The "ambitious" wicked slutty resentful conniving jezebel archetype who manipulates society's sympathy towards the weaker sex & uses her sexual prowess to get what she wants. It's masked as progressive but it's really the core tenant of the misogynstic trope since the dawn of civilization. Boxing all female characters into that "perfect victim or not trying hard enough to be a villain" superficial binary. So now when you have a realistic & empathetic portrayal of women under violent patriarchy, these stans consider it "weak" & "unnecessary victimhood" & other remedial nonsense since these women aren't conforming to their girlboss headcanons by wearing black shoulder straps to blow up the Sept & smirking at the camera while sipping wine or telling Tommen "OUR LITTLE SECRET🤓". Women in general react badly to Alicent as she's an uncomfortable reminder of women's subjugation to medieval patriarchal feudalism & the immense pressure required to navigate it. They chalk it up as "lack of agency" or "ambition" as it's hard for them to see a harsh society where choice is removed from women, the stan brain thinks "if it was me I'd do this and that and wouldn't be bound". The saddest part is that Rhaenyra & Alicent's complex relationship is what separates the show from being yet another white hat black hat color war.
But the stans reject it because what they wanted was a show with no nuance, with a platinum blonde self-insert & a evil stepmom, so it would've been easier to call the later misogynistic slurs without any pushback (& the Green just wanted cheap Cerseification). But these visions are inferior to the tragic "inevitability of fate" narrative of s1 that has been so misunderstood as simple "accidents" by ppl with a limited frame of reference. Crowning Aegon was supposed to keep them safe. It was supposed to be a fait accompli. It was supposed to keep daemon from killing them. It was supposed to give them control over their own destiny. But it just led to more bloodletting, an endless spiral, the self-fulfilling prophecy! & Alicent forever stuck between the innate (her sons) & the familial (the "lost friendship"). It's delicious sophoclean tragedy.
According to the interview for "Esquire" Aegon is 21, Helaena -19 and Aemond 18... Which means in the "Driftmark" episode they should be 15, 13 and 12. Seems like in the show version of events, Aegon's and Helaena's wedding was a little less rushed than in the books . I wonder how old the twins are then? In episode 9, they look younger that 6, and in ep 7, Helaena definitely isn't pregnant (and she isn't even wed to Aegon yet). And how old is Maelor (assuming he exists lol)
Tue real that dont app up in thecshow is laenor hearing his family killing eachother , lucerys was his son , in his heart at least , and still chilling in essos
I’m shocked that this video doesn’t have more views and likes!! That was amazing!! Keep up the good work girl❤❤
She Alicent on my Hightower til We Light the Way(?)
This is the level of neurodivergence i need in a fandom. ❤
❤
I spent my whole life thinking I didn't have any kinks. Who knew "hot woman explaining plot holes while pointing knives" even was a kink? Not me...
The weird casting of mid season aegon and aemond didn’t help. I felt no continuity between them and their older versions. Also, they should’ve used Tenents kid as older Aegon
Downvote because there are not enough Caraxes photos
Edit: Upvote because there are enough Caraxes photos
Rhaenyra just got the date wrong when she was sworn in. She isn't sound of mind or fit to rule if she can't even remember this. Let's go team Green!
You got the ages wrong lol Aegon is 20 and aemond is 17…sister is 18
Those may be the ages they're supposed to be, but the dialogue of the show and the stated lengths of the time jumps in the episode descriptions makes that impossible.
@@QuinnFirstOfHerName Ryan said that’s the ages I mean I kinda get what you saying but I feel these ages still makes sense. Aemond clearly is older than Luke by a bit and that’s really the indicatior and he’s at least 2 years older than Jace on the show tho he should be at least 4.
@@Caraxes_RoguePrince Oh ok I couldn't find any official statement on the ages so I was going off of the casting notes. And those ages are still impossible within the established timeline.
@@QuinnFirstOfHerName Agreed, Aegon is clearly 19 by my count but I didn't pay attention to Aemond's age and now it makes sense for him to be 15 lmao this show's timeline is so messy!!
Why are you pointing knives at people? This is so weird. This all started when they changed Rhaenera's age to make her closer in age to Allicent. She was only eight years old when she was named her father's heir. Allicent is nine years older than Rhaeneara. Once you let this butterfly out of the net it cascades down to all of the other timelines and ages. Stop with the knives, it's just weird and creepy. This alteration of the timeline shouldn't affect the overall story nearly as much as some of the other minor changes. The biggest one is failing to kill Laenor. Again, stop with the knives. It's super threatening and triggering. Also, if they take out Nettles, that is going to be very bad. She is a critical character for this story and ASOIAF.
Bro are u serious ? You made that whole thing just to say this? Why can’t u just enjoy the show