Uncategorized
https://nerdist.com/article/house-of-the-dragon-season-two-episode-one-botched-blood-and-cheese/
House of the Dragon‘s season two premiere ended with a violent scene readers of George R.R. Martin’s Fire & Blood have desperately waited to see. It was the iconic, infamous event known as “Blood and Cheese,” arguably the single most shocking, cruel, and heartbreaking moment in the history of Westeros. And House of the Dragon completely botched it by needlessly delivering a vastly inferior version.
I love every single book and short story George R.R. Martin has written about Westeros. Yet I also know books are not TV shows and TV shows are not books. Adaptations, even faithful ones, must make significant changes if they hope to succeed. The written word, no matter how good, simply does not always translate to the screen. In its first season, House of the Dragon made a lot of amazing changes, the majority of which I supported and celebrated. From the revelation of Aegon’s Dream to an infinitely more dynamic King Viserys, it provided so many fantastic new aspects to Martin’s story.
Of course, the show also made some terrible changes. It undercut the major figures’ storylines and created big spectacles free of logic. Those kinds of alterations are frustrating (to be polite), but it’s a part of the process. I get that. I really do.
But some scenes need zero changes because they’re not only perfect on the page, they’re already perfect for the screen. And—more than any other moment in all of Fire & Blood, and maybe in all of A Song of Ice and Fire—no scene was ever more TV ready than “Blood and Cheese.”
The murder of Prince Jaehaerys on House of the Dragon almost certainly shocked and bothered those who had no idea what was coming. The violent murder of a child, even in Westeros, is still inherently stunning. The problem is those who did know what was coming, the people most excited and invested in this scene, know this version is monumentally, infuriatingly worse. George R.R. Martin’s version is so much more powerful, creative, and awful than House of the Dragon‘s. It’s also more logical and far more meaningful to the story.
In Fire & Blood a scheming, angry, worried Alicent Hightower is the chief architect of Aegon usurping his half-sister’s throne. House of the Dragon took away some of her agency by making her believe Viserys had a deathbed change of heart about succession. Fortunately season two’s premiere gave some back to Alicent by showing she knows the only way forward now is violence. She accepts blood must be shed and she has played a role in that inevitability. That scene with her father (along with the rat catcher walking by her earlier in the episode) also seemed to be setting up the horror that awaited her at the end by having her naively believe a war for the Iron Throne would free of “wonton” violence. The series did a fantastic job foreshadowing the worst moment in Alicent’s life, one that would make her truly face the consequences of her choices.
Then it didn’t have her experience it.
In Fire & Blood, Daemon’s two hired assassins aren’t bumbling around without a plan. They are far more capable, focused, and diabolical. The rat catcher is chosen specifically because he knows how to get around the Red Keep’s secret tunnels (including where the royals live) in a way few others do. That includes even those who actually live there. Cheese, as he is eventually called, knows all the hidden passageways in and out of bedchambers and offices. His intimate knowledge is also partly why they targeted Haelena’s young son rather than Aegon or Aemond in the first place.
Book Alicent resides in an accessible part of the castle, the Tower of the Hand. The highly protected King and his family sleeps in Maegor’s Holdfast, which has no secret ways entrances. King Maegor had the Red Keep’s secret tunnels installed, but wisely didn’t want any where he lived and slept. The subtext of Martin’s story reveals no one in the royal court worried about where Alicent, Helaena, and the kids went anyway because they obviously weren’t targets. This is a war between Rhaenyra and Daemon against Aegon and Aemond. Even the murder of Lucerys Targaryen wouldn’t make someone think little Prince Jaehaerys was in danger. He’s a literal child. But that’s one of the major points of the entire scene, which is really not about Jaehaerys or Helaena at all. They’re just victims. The scene is really about Alicent and how she made her loved ones targets.
In Martin’s book, Blood and Cheese hide in Alicent’s bed chamber because that’s how they can get what Daemon wants, “a son for a son.” Spies let Daemon (not still on Dragonstone at this point) and Mysaria (still in King’s Landing and willingly involved in this scheme) know about the Queen’s activities. Every night Helaena takes her three kids— the twins Jaehaerys and Jaehara, aged six, and son Maelor, aged two—into their grandmother’s bedroom to say goodnight.
On that fateful evening, Blood and Cheese had already bound and gagged Alicent and strangled her bed maid. Then they waited, as a helpless and terrified Alicent looked on, not knowing exactly what they had planned. When Helaena walked in with the three kids holding Maelor’s hand, Blood “barred the door and slew the queen’s guardsman, whilst Cheese appeared to snatch up Maelor.” After promising to kill them all unless Helaena stayed calm and quiet, they also swore to only harm one son. Only, in one of the most horrific decisions ever faced by anyone in Westeros, Helaena would have to pick which son died.
The Queen pleaded with them to take her instead, but they threatened to assault her daughter if she didn’t choose. Finally, “on her knees, weeping, Helaena named her youngest, Maelor.” Why him? Some think because he was too young to understand, others because Jaehaerys was the King’s heir. Whatever drove her choice, it didn’t matter. Cheese whispered to little Maelor, who must have been so confused and scared, “You hear that, little boy? Your momma wants you dead.” Cheese then smiled at Blood, who instead struck Jaehaerys’ head off with a single blow.
Yeah. Yeah.
On the page this horrible, shocking, heartbreaking scene—a true testament to Martin’s gift as a writer—reads like a short play in a way few moments of Fire & Blood do. It’s all there. There’s no guessing at the action, tension, and dialogue. There’s no mystery to fill in. Nor is there any way to improve it. It’s perfect, as is the purpose it serves in this story about two women fighting over the Iron Thrones. That’s what really matters.
This is the moment where Alicent literally must face what she’s put in motion. For all her talk about protecting her family from Rhaenyra, she is the one who put them all in mortal danger. She started this war. Her anger and ambition helped make such a moment of evil possible.
And for all of the Greens’ arrogance about righteousness, they must now spend the rest of the war knowing none of them, not even the youngest and most innocent, are safe. This is a fight to the death no one will win even if they survive. Helaena, Alicent, Jaehaera, and Maelor all walk away from Blood and Cheese with their lives, yet each life is destroyed in its own way.
For indefensible, incomprehensible reasons, House of the Dragon decided not to have Alicent present for any of this. Neither does it make Helaena agonize over an impossible decision only to be left with a son who knows she named him for death. Instead Alicent only had to hear about what happened while Helaena instantly gave up her son. (Which itself was an illogical moment of non-tension. Blood and Cheese could have easily looked under the kids’ pajamas to identify Jaehaerys.)
Why did House of the Dragon take a scene this good and beloved, one of the most highly anticipated in all of Game of Thrones history, and make it inferior? Why did it lessen the emotional impact, horror, and meaning to the story? It’s not as though these changes were about lessening the violence. The show actually amped the physical brutality of the moment. The murder of little Jaehaerys was worse because Blood slowly sawed off his head rather than chopping it off in a single blow. Why amplify the physical awfulness but lessen the emotional aspect when that’s the entire reason for the scene in the first place?
Ultimately the show’s reasons doesn’t matter, at least not to book readers who know what they missed out on. The only thing that matters is that House of the Dragon blew a rare opportunity. It had the chance to adapt a book moment that was already perfect for the screen in every way.
Mikey Walsh is a staff writer at Nerdist. You can follow him on Twitter and Bluesky at @burgermike. And also anywhere someone is ranking the Targaryen kings. (Or complaining about how House of the Dragon did the impossible and screwed up “Cheese and Blood.”)
The post HOUSE OF THE DRAGON Botched George R.R. Martin’s Most Shocking Moment appeared first on Nerdist.
House of the Dragon‘s season two premiere ended with a violent scene readers of George R.R. Martin’s Fire & Blood have desperately waited to see. It was the iconic, infamous event known as “Blood and Cheese,” arguably the single most shocking, cruel, and heartbreaking moment in the history of Westeros. And House of the Dragon completely botched it by needlessly delivering a vastly inferior version.
I love every single book and short story George R.R. Martin has written about Westeros. Yet I also know books are not TV shows and TV shows are not books. Adaptations, even faithful ones, must make significant changes if they hope to succeed. The written word, no matter how good, simply does not always translate to the screen. In its first season, House of the Dragon made a lot of amazing changes, the majority of which I supported and celebrated. From the revelation of Aegon’s Dream to an infinitely more dynamic King Viserys, it provided so many fantastic new aspects to Martin’s story.
Of course, the show also made some terrible changes. It undercut the major figures’ storylines and created big spectacles free of logic. Those kinds of alterations are frustrating (to be polite), but it’s a part of the process. I get that. I really do.
But some scenes need zero changes because they’re not only perfect on the page, they’re already perfect for the screen. And—more than any other moment in all of Fire & Blood, and maybe in all of A Song of Ice and Fire—no scene was ever more TV ready than “Blood and Cheese.”
The murder of Prince Jaehaerys on House of the Dragon almost certainly shocked and bothered those who had no idea what was coming. The violent murder of a child, even in Westeros, is still inherently stunning. The problem is those who did know what was coming, the people most excited and invested in this scene, know this version is monumentally, infuriatingly worse. George R.R. Martin’s version is so much more powerful, creative, and awful than House of the Dragon‘s. It’s also more logical and far more meaningful to the story.
In Fire & Blood a scheming, angry, worried Alicent Hightower is the chief architect of Aegon usurping his half-sister’s throne. House of the Dragon took away some of her agency by making her believe Viserys had a deathbed change of heart about succession. Fortunately season two’s premiere gave some back to Alicent by showing she knows the only way forward now is violence. She accepts blood must be shed and she has played a role in that inevitability. That scene with her father (along with the rat catcher walking by her earlier in the episode) also seemed to be setting up the horror that awaited her at the end by having her naively believe a war for the Iron Throne would free of “wonton” violence. The series did a fantastic job foreshadowing the worst moment in Alicent’s life, one that would make her truly face the consequences of her choices.
Then it didn’t have her experience it.
In Fire & Blood, Daemon’s two hired assassins aren’t bumbling around without a plan. They are far more capable, focused, and diabolical. The rat catcher is chosen specifically because he knows how to get around the Red Keep’s secret tunnels (including where the royals live) in a way few others do. That includes even those who actually live there. Cheese, as he is eventually called, knows all the hidden passageways in and out of bedchambers and offices. His intimate knowledge is also partly why they targeted Haelena’s young son rather than Aegon or Aemond in the first place.
Book Alicent resides in an accessible part of the castle, the Tower of the Hand. The highly protected King and his family sleeps in Maegor’s Holdfast, which has no secret ways entrances. King Maegor had the Red Keep’s secret tunnels installed, but wisely didn’t want any where he lived and slept. The subtext of Martin’s story reveals no one in the royal court worried about where Alicent, Helaena, and the kids went anyway because they obviously weren’t targets. This is a war between Rhaenyra and Daemon against Aegon and Aemond. Even the murder of Lucerys Targaryen wouldn’t make someone think little Prince Jaehaerys was in danger. He’s a literal child. But that’s one of the major points of the entire scene, which is really not about Jaehaerys or Helaena at all. They’re just victims. The scene is really about Alicent and how she made her loved ones targets.
In Martin’s book, Blood and Cheese hide in Alicent’s bed chamber because that’s how they can get what Daemon wants, “a son for a son.” Spies let Daemon (not still on Dragonstone at this point) and Mysaria (still in King’s Landing and willingly involved in this scheme) know about the Queen’s activities. Every night Helaena takes her three kids— the twins Jaehaerys and Jaehara, aged six, and son Maelor, aged two—into their grandmother’s bedroom to say goodnight.
On that fateful evening, Blood and Cheese had already bound and gagged Alicent and strangled her bed maid. Then they waited, as a helpless and terrified Alicent looked on, not knowing exactly what they had planned. When Helaena walked in with the three kids holding Maelor’s hand, Blood “barred the door and slew the queen’s guardsman, whilst Cheese appeared to snatch up Maelor.” After promising to kill them all unless Helaena stayed calm and quiet, they also swore to only harm one son. Only, in one of the most horrific decisions ever faced by anyone in Westeros, Helaena would have to pick which son died.
The Queen pleaded with them to take her instead, but they threatened to assault her daughter if she didn’t choose. Finally, “on her knees, weeping, Helaena named her youngest, Maelor.” Why him? Some think because he was too young to understand, others because Jaehaerys was the King’s heir. Whatever drove her choice, it didn’t matter. Cheese whispered to little Maelor, who must have been so confused and scared, “You hear that, little boy? Your momma wants you dead.” Cheese then smiled at Blood, who instead struck Jaehaerys’ head off with a single blow.
Yeah. Yeah.
On the page this horrible, shocking, heartbreaking scene—a true testament to Martin’s gift as a writer—reads like a short play in a way few moments of Fire & Blood do. It’s all there. There’s no guessing at the action, tension, and dialogue. There’s no mystery to fill in. Nor is there any way to improve it. It’s perfect, as is the purpose it serves in this story about two women fighting over the Iron Thrones. That’s what really matters.
This is the moment where Alicent literally must face what she’s put in motion. For all her talk about protecting her family from Rhaenyra, she is the one who put them all in mortal danger. She started this war. Her anger and ambition helped make such a moment of evil possible.
And for all of the Greens’ arrogance about righteousness, they must now spend the rest of the war knowing none of them, not even the youngest and most innocent, are safe. This is a fight to the death no one will win even if they survive. Helaena, Alicent, Jaehaera, and Maelor all walk away from Blood and Cheese with their lives, yet each life is destroyed in its own way.
For indefensible, incomprehensible reasons, House of the Dragon decided not to have Alicent present for any of this. Neither does it make Helaena agonize over an impossible decision only to be left with a son who knows she named him for death. Instead Alicent only had to hear about what happened while Helaena instantly gave up her son. (Which itself was an illogical moment of non-tension. Blood and Cheese could have easily looked under the kids’ pajamas to identify Jaehaerys.)
Why did House of the Dragon take a scene this good and beloved, one of the most highly anticipated in all of Game of Thrones history, and make it inferior? Why did it lessen the emotional impact, horror, and meaning to the story? It’s not as though these changes were about lessening the violence. The show actually amped the physical brutality of the moment. The murder of little Jaehaerys was worse because Blood slowly sawed off his head rather than chopping it off in a single blow. Why amplify the physical awfulness but lessen the emotional aspect when that’s the entire reason for the scene in the first place?
Ultimately the show’s reasons doesn’t matter, at least not to book readers who know what they missed out on. The only thing that matters is that House of the Dragon blew a rare opportunity. It had the chance to adapt a book moment that was already perfect for the screen in every way.
Mikey Walsh is a staff writer at Nerdist. You can follow him on Twitter and Bluesky at @burgermike. And also anywhere someone is ranking the Targaryen kings. (Or complaining about how House of the Dragon did the impossible and screwed up “Cheese and Blood.”)
The post HOUSE OF THE DRAGON Botched George R.R. Martin’s Most Shocking Moment appeared first on Nerdist.
My favorite digital manga subscription service Azuki, home of my beloved My Dear Detective: Mitsuko’s Case Files and newer fave Our Aimless Nights, will be adding nine new additions to its catalog including Star Fruit Books’ highly anticipated indie horror manga The Horrors of Noroi Michiru and eight new series across a variety of genres from MediBang. These titles include Different Nation, Repeating Your End Together, Sinner, Flen in Black, If You Share A Kiss with Asakawa, Stories from the Shopping District, VESTIGE, and Makabe-sensei’s Perfect Plan, distributed by MediBang.
All nine titles are now available worldwide (except Japan) on the Azuki website and iOS and Android apps, with select free chapters available.
The Horrors of Noroi Michiru by Noroi Michiru, published by Star Fruit Books: For the first time ever, the master of horror Noroi Michiru is available in English! This two-volume collection includes his one-shots, with each page rendered in exquisite detail to showcase his splendid artwork — each panel worthy of being framed. Noroi Michiru’s aesthetic is impressive in that it conforms to Western expectations, both amongst illustrated covers and also pages of narrative — focused, realistic anatomy, as opposed to more exaggerated, fanciful forms. His concepts, artwork, and narratives are as admirable as the efforts of Junji Ito, but his circulation, and consequently his fanbase, has mainly been exclusive to Japan.
Note: The Horrors of Noroi Michiru is an Azuki digital exclusive, meaning its digital release will be available only on Azuki. Star Fruit Books will release the series in print in two volumes. Volume 1 is 204 pages and goes on sale July 18, 2024.
This looks like it will appeal to fans of: horror via manga, indie manga, and heavily detailed illustrations
Different Nation by Kakio Tsurukawa, distributed by MediBang: Since the aliens invaded Earth 20 years ago, they have co-existed with human beings in this country. ICPO, an institution with a mission to prevent violent crime happening in the invaded nation, is the main protagonist of this full-colored sci-fi human drama. Together with Roy, a former New York police officer, and a serious alien named Leonardo, Rika, a new Japanese investigator, confronts a crime organization in the bizarre but thrilling “Different Nation.”
Note: Kakio Tsurukawa also has two one-shots available from Star Fruit Books on Azuki: Sawanabe Zombie and Ikyoudo.
This looks like it will appeal to fans of: the sdic-fiction, drama and actions genres, and Shonen-like stories
Repeating Your End Together by Seiju Natsumegu, distributed by MediBang: “Things I wanted to re-do seem to be endless…” An elite Office Lady, Komori, has a unique ability to do minimum time looping but the limit suddenly turned into 10 years when she got in an accident. The one who greets her in the high-school-past was that man, who had lived in Komori’s heart for a long time… sometimes remembered as a smiling nerd, sometimes as a lifeless body that Komori couldn’t save.
This looks like it will appeal to fans of: the drama, romance, and sci-fi genres
VESTIGE by Cacoethic, distributed by MediBang: A survival thriller manga in full color! Keep your guard up and hunt everything you can because you never know when you’ll be hunted!
This looks like it will appeal to fans of: full colored stories, post-apocalyptic stories, and characters on the run
Makabe-sensei’s Perfect Plan by Kosuke Tokimune, distributed by MediBang: The high school teacher Kanichi Makabe is what you might call a “perfectionist.” He does not compromise anything that might hinder his perfect routine! From fighting over seats in the train to protecting a corner of an eraser, every peaceful boring day is indeed a battlefield for him…
This looks like it will appeal to fans of: the comedy and slice-of-life genres, manga dealing with school life, and Seinen like stories
Sinner by Kye, distributed by MediBang: Babies are scanned at birth, and their criminal probability is found. All is well if they’re not criminally inclined. However, if their numbers are too risky, they’re removed from society. This is heartbreaking for many, so a group of sinners is now fighting back for their right to try and not just be labeled at birth. Join us on their journey.
This looks like it will appeal to fans of: science fiction, angsty and tragic narratives
Flen in Black by Keisuke Odagiri, distributed by MediBang: Chika grows medicinal herbs and sometimes helps treat her fellow villagers. One day, she notices someone dressed from head to toe in black standing in her herb garden. It turns out that person’s name is Flen, and she also seems to be extremely knowledgeable about medicines and herbs. Chika invites her in for a drink and asks her where she’s from. Flen replies with the mysterious answer “over the eastern mountain, and then as far as east goes.” However, it seems there is a secret behind Flen’s amazing medicinal knowledge. What could it be?
This looks like it will appeal to fans of: stories about medicine and healers, characters of mysterious origins
Azuki is available on the web at www.azuki.co and in the iOS App Store and Google Play Store. The app features 300 manga series, including international hits like Attack on Titan, Fire Force, and A Silent Voice. Azuki also publishes acclaimed new series like Mecha-Ude: Mechanical Arms, Natsume & Natsume, and My Dear Detective: Mitsuko’s Case Files, with weekly new chapters available exclusively via the Azuki app.
Manga fans can start reading for free with advertisements today, or upgrade to Premium and access the full Premium catalog featuring thousands of chapters for just $4.99 a month. A 14-day free trial and discounted annual plan are also available, and additional volumes outside the subscription can be purchased via direct volume sales. Premium members get 20% off all volumes. Most titles are available worldwide (except Japan). Stay up to date on the latest announcements by following Azuki at x.com/ReadAzuki, facebook.com/ReadAzuki, and instagram.com/readazuki.
Love reading manga? See more on our site!
Want to get Black Nerd Problems updates sent directly to you?
Sign up here! Follow us on Twitter, Facebook, YouTube, Twitch, and Instagram!
The post New June Manga Series Available on Azuki appeared first on Black Nerd Problems.
Written by Angelica Monk and Jamie Broadnax
The ominous title for this episode for readers familiar with Fire and Blood informs us of the impending doom soon to come for the civil war between these families. But for those not familiar, brace yourself, because this episode delivers a gut punch that you didn’t see coming. Before we dive into the recap, there is a significant change from last season of House of the Dragon – the opening credits. We shift from the stone model of old Valyria to a fabric tapestry that illustrates the events of the Targaryen era. Once again, book readers will be familiar with the embroidery as the events stitch out characters depicted in blood, but those who have not read the book, will at least be learn to appreciate new nuggets of information each episode as they see these events play out and move forward that were previously shown in the opening credits.
We open in the North and get a nice little history lesson from Cregan Stark (Tom Taylor), who is the Lord of Winterfell. For those yearning for a dose of Game of Thrones nostalgia this was certainly a fan service moment for many of us, even with phrases harkening back to the series like “Winter Is Coming”. Summoned on behalf of Princess Rhaenyra (Emma D’Arcy) is her son Jacaerys Velaryon (Harry Collett). Who is now playing the role of a political player. Seeing actor Harry Collett in his natural curly tendrils and out of that wig was certainly refreshing to see. We learn a bit of information about the ancestors of the Starks including Torrhen Stark, the King Who Knelt and the ancient duty of his people to defend the Seven Kingdoms from the dangers beyond the Wall. While Jace doubts Torrhen Stark would ever bend the knee to Aegon the Conqueror unless he knew he could bring unity to the Seven Kingdoms, Jace seeks that same alliance with Cregan. As Cregan walks Jace over to the battlements and notes there’s a reason why his ancestors erected a 700-foot-high wall when King Jaehaerys visited, his dragons refused to go beyond the Wall. The Wall is meant to keep out Death. This shot is intentionally ominous which is a key to tell the viewer that this is a significant detail we need to remember.
Meanwhile at Dragonstone, Princess Rhaenys (Eve Best) returns on the back of Melys after patrolling over 100 miles of open sea to hold the blockade of the Gullet. King Consort Daemon (Matt Smith) appears demanding she mounts Melys and flies with him to King’s Landing. Daemon intends to kill Vhagar and Aemond Targaryen (Ewan Mitchell) and knows he cannot face them alone but is certain Melys and Caraxes can take them down.
Over at Driftmark, Lord Corlys Velaryon (Steve Toussaint) has now fully recovered from his near-death experience at sea. He surveys the repairs of his ship, which was nearly destroyed at the Stepstones. He is greeted by Alyn of Hull (Abubakar Salim) a sailor in the Velaryon fleet who served in the Stepstones. Alyn reports to Corlys that repairs are going well on Sea Snake and seven more ships have been sent to fortify the blockade. Corlys wants his ship to be seaworthy ASAP and Alyn promises to speak to his brother about what reinforcements the shipwrights can muster. We learn that Alyn was the man that rescued him at sea and Corlys tell him that he is “in his debt”.
The next scene takes us to Kings Landing as Ser Arryk Cargyll of the Kingsguard (Luke Tittensor) climbs the battlements instructing his men to remain at their posts.He spots a dragon overhead and as they prepare to arm the scorpion, Arryk orders them to hold as the dragon is Vhagar. Queen Helaena Targaryen (Phia Saban) is knitting an image of a dragon while her daughter, Princess Jaehaera plays with their maids in the Queen’s quarters. King Aegon Targaryen (Tom Glynn-Carney) bursts in looking for his son, Prince Jaehaerys, he wants to bring him to the Small Council since he will be king one day. Helaena whispers, “What if he doesn’t want to be King?” Aegon demands to know where he is and Helaena reluctantly tells him Aegon he’s in the library as is his custom. As Aegon walks to get his son, Helaena says she’s not afraid of the dragons but the rats. Aegon quips to the staff, “The Queen is an enduring mystery. Is she not?”
As you recall from season one, Helaena has the gift of foresight and she sees things that others don’t. So when the queen speaks, people should in fact listen.
We cut to the queen-who-once-was Queen Alicent Hightower (Olivia Cooke) getting cunnilingus from Ser Criston Cole, Lord Commander of the Kingsguard (Fabian Frankel). As they get dressed to meet with the Small Council, Alicent tells Criston their coupling cannot happen again, Criston agrees and then asks Alicent to help him don his white cloak. In the Small Council chambers, we see a rat catcher exit as Alicent and Criston enter. They are greeted by Ser Otto Hightower, Hand of the King (Rhys Ifans). The remaining Small Council now consists of Grand Maester Orwylle (Kurt Egyiawan), Ser Tyland Lannister the Master of Coin (Jefferson Hall) and Lord Jasper Wylde the Master of Laws (Paul Kennedy). Otto states the blockade has put a strain on King’s Landing and Aegon regrets they didn’t kill the Greens. Otto states they must deal with their cards they have been dealt and the Small Council agrees they must bolster their Navy.
Aemond, with a noticeable pimp walk, enters unannounced, Alicent insists he has no place, but Aegon insists his brother belongs with the Small Council. Aemond notes they must take hold of the Riverlands, Aegon thinks using the dragons to intimidate the Riverlands’ forces is best and if they do not bend the knee, they will simply burn them.
Outside the Small Council chambers, Alicent is met by Ser Larys Strong (Matthew Needham) who confirms he rooted out the potential spies of Mysaria (Sonoya Mizuno) in Alicent’s staff. He assures her that they no longer breathe the same air, and he has personally picked new attendants for her. That evening, as her maids attend to Alicent during her bath, she dismisses them, insisting on bathing herself.
On a shoreline near the Storm’s End, Rhaenyra pulls what’s left of Luke’s remains. She weeps and its a gut wrenching scene to watch the loss of a son in such a tragic way.
Back in King’s Landing, Aegon enters the throne room, heralded by his friends as “Aegon the Magnanimous”. He sits the Iron Throne to hear his first petition as King. A sheep herder pleads for the return of the tenth of his sheep which were taken by the crown, Aegon eagerly agrees to return his sheep. However, Otto advises him that if provides this way for one man he will have to do this for all and Aegon reneges on his promise.Larys, who was watching Aegon earlier approaches him in the castle halls, flattering the King in his handling of the smallfolk. He takes Aegon to the side and suggests in an incredibly subtle way to consider a new Hand of the King.
Otto meets Alicent in her chambers, wishing to be allied with her father. She complains to him that he’s undercut her authority before the Small Council and her sons. She fears that Otto will undermine her voice and Aegon and Aemond will no longer look to her for council. She has completely lost her power at this point as the now Dowager Queen.
Near Dragonstone, a ship is stopped attempting to circumvent the blockade. Ser Erryk Cargyll of the Queensguard (Elliott Tittensor) finds a stowaway onboard, Mysaria, notes the last time they crossed paths, there were two of him. Erryk vouches for Mysaria, he confirms she was not an agent of Hightowers. Erryk is confronted by Daemon, he admits he’s ashamed about abandoning the Kingsguard, and that his brother joined the Queensguard. Daemon counters why he didn’t kill Aegon and Erryk says he and his brother swore an oath to protect the royal family, what were they to do when they turned against each other?
Daemon visits Mysaria in her cells and strikes a bargain. If she provides him with her knowledge of servants who have spied for her in the Red Keep, she will win her freedom. Lady Baela Targaryen (Bethany Antonia) escorts Jace to his mother’s chambers. He bravely yet tearfully reports of his progress in the North and the Vale, when Rhaenyra stands and wraps her in his arms. They both grieve the loss of Luke. A funeral service begins for Luke and Lady Rhaena Targaryen (Phoebe Campbell), Luke’s betrothed, watches the flames as tears stream down her face.
Daemon is smuggled into King’s Landing where he meets Blood (Sam C. Wilson), a member of the Gold Cloaks who hates the Hightowers. Daemon shakes a large bag of coins enticing him. Blood escorts Daemon through the city and meets Cheese (Mark Stobart) a rat catcher who worked for Mysaria and is revealed to have large gambling debts. Daemon describes Aemond’s appearance and offers to pay Cheese half now and half later once the deed is done. Cheese asks what they should do if they don’t find Aemond, Daemon doesn’t say anything.
Cheese leads Blood through the watery tunnels beneath the Red Keep, ordering Blood to climb a ladder and bring his dog as they ascend. They pass the Throne Room as Aegon, and his friends drunkenly discuss his reign with his friends.
Blood hears a noise and finds Cheese holding a knife to Helaena’s throat. Blood says the Queen isn’t a son, but Cheese tells him they can kill one of the children who are sleeping in their beds. One of them is the Prince and heir to the throne, they simply need to look for boy parts. Blood says the mother will know and they ask Helaena to point out her son. She offers her necklace of great value, but they snatch and threaten to kill all three of them if she doesn’t choose Helaena points to Jaehaerys and Blood doubts that she gave him up so easily, but Cheese insists she is telling the truth.
Cheese holds down Jaehaerys while Blood kills him. Helaena quickly grabs Jaehaera from her bed while the men are distracted and flees the room. The sick sound of blood and sawing can be heard as they decapitate the child’s body.
Helaena runs down the steps and bursts into her mother’s chambers, Queen Alicent, who is fornicating with Ser Criston Cole. Helaena tells Alicent what happened and the episode title confirms the worst of the worst has now happened.
Tune in next Sunday night at 9pm ET on Twitter and Threads as we use the hashtag #DragonsYall and check out our YouTube show as we breakdown each of these episodes!
By India Espy-Jones ·Updated June 16, 2024
Father’s Day can stir up a reminder of all the lessons we’ve learned from our dads. While we might teach them skincare routines, they raise us with lessons about beauty, confidence, and how to achieve our heart’s desires whether we realize it or not. After all, growing up, what we learned from our father figures– from fathers to step fathers, grandfathers and uncles– guides us throughout adulthood.
Today, in honor of Father’s Day, we look back and acknowledge all the lessons we don’t want to unlearn. Below, 8 ESSENCE editors share the important self-confidence guidance they’ve received from their fathers.
Akili King, Senior Beauty Editor
“Growing up, I remember my dad would brush my hair before school, putting it into a slicked-back puff. I didn’t realize it at the time, but now I see how important those bonding moments were. I’m grateful to have a father that would take time out of his busy mornings to make sure I felt my best before heading into the school day.
Additionally, he would often affirm me and my hair, telling me how much he loved the ‘fro, which went a long way for me. Even in more recent years, I remember tweeting something about how I was struggling to find a good foundation that wouldn’t break me out. He commented and said, ‘well, it’s a good thing you don’t need any makeup anyway.’ I thought it was the sweetest thing. Although I do minimal makeup in general, it definitely encouraged me to further embrace my skin in any phase.
Aside from this, my dad has always encouraged me to pursue my dreams and do what makes me happy. I’m super thankful for that.”
Dominique Fluker, Contributing Life src="https://lh7-us.googleusercontent.com/docsz/AD_4nXdMgfKbau7Hj-HZF7WDPV0F3JW8ASSY63ispgv6P67vghel1k-xXdTDICe4HjKy64lLoB1T6IWNCQF2EXJ2NeU2tKIaITQsvXJqCF27pFsADdI1IB3ZopOAaenfdO0BpbAL-URZH4jKEiBvyi_0nlWwsqR4?key=t5DgE28jpPmwjl_w-nm8ew" alt=""/>“My father passed when I was 20 years old. Throughout my life, he encouraged me to have unwavering confidence. He showed me that beauty is confidence.”
Kenyatta Victoria, Contributing GU Editor
“My dad always taught me to be fearless when pursuing what I wanted. He instilled in me from a young age that I’m capable of anything no matter how quiet I was growing up. Through those lessons, I could feel and look my best because I was already in a confident headspace thanks to my dad.”
Devine Blacksher, Senior Fashion Editor
“I’ve learned so many lessons about confidence from my dad. Since I was a kid, he has always encouraged me to be the boldest version of myself. I was definitely a shy child, which might surprise people, but he always told me to ‘start strong, stay strong.’ These words still resonate with me when I feel uncertain. He also showed me how to be accepting and honest with myself.
I remember going through a bad breakup a few years ago. I would call him, crying and being so hard on myself, and he would say, ‘Devine, look in the mirror. Do you like what you see?’ This helped me tap into self-love and taught me to pause and give myself grace. It was a truly beautiful lesson that changed my life. He’s also always pushed me to express myself and not care about what others think. I’m so blessed to have him as my dad—the coolest person I know!”
India Espy-Jones, Beauty Writer
“My dad used to say he had kids (two daughters) just to spoil them, so I grew up knowing I could have and be whatever I wanted. At the time, I wanted to be a red Power Ranger; but looking back, I realized how important it is to know you can ask for and receive your every intention. Growing up knowing the power I held has allowed me to achieve my biggest dreams before the age of 25, and I feel like my life has never felt more beautiful.”
Jasmine Browley, Contributing Business Editor
“One of the many ways he instilled confidence/self esteem in us is by always offering the space to reach for our dreams, just as long as we actually tried. ‘If it don’t work out, just go to the next thing. Ain’t nothing wrong with trying.’”
Rayna Reid Rayford, Contributing Editor
“My Dad always told me ‘pretty is as pretty does,’ and to me, that has always meant that beauty starts from within.”
Robyn Mowatt, Contributing Fashion Editor
“My father surprisingly was the one who taught me how to take care of my skin. From a young age, he taught me and my twin sister how to exfoliate, how to properly wash our faces and also shared how important it is to take care of our skin as it’s a first impression you leave on people you meet. I reckon with this often largely because it’s true and it also instills self-confidence. Of the many lessons he’s taught me resilience, grit and confidence are a few of the strongest.”
TOPICS: beauty lessons Black Fathers DayThe post These Are The Lessons We’ve Learned From Our Dads appeared first on Essence.