A woman holding a baby walks into a bedchamber, while her husband holds her arm. Let. Her. Rest. Credit: Ollie Upton / HBO ...
Already, we see how Alicent seeks to undermine Rhaenyra, and how Rhaenyra refuses to give Alicent the satisfaction of seeing her break. In the visual language of the Game of Thrones universe, a long tracking shot typically means a fight. Many of these long takes happen in episodes directed by Miguel Sapochnik, who also directed "The Princess and the Queen." [Queen Aemma](https://mashable.com/article/house-of-the-dragon-aemma-arryn) (Sian Brooke) says in episode 1, "The childbed is our battlefield." [House of the Dragon](https://mashable.com/category/game-of-thrones)'s sixth episode, "The Princess and the Queen," kicks off on a harrowing note. Princess Rhaenyra Targaryen (Emma D'Arcy), all grown up after a [ten-year time jump](https://mashable.com/article/house-of-the-dragon-time-jump-what-characters-look-like-now), is in the last stages of labor.
The adult Rhaenyra and Alicent have arrived at last – but amid births, deaths, and warring families, their rivalry is only growing hotter.
House of the Dragon is a Game of Thrones prequel co-created by George R.R. Almost certainly, but Rhaenyra’s desire to get away from the endless attacks on herself and her children is understandable. And Alicent is left terrified of her own ally, having seen what the quiet, mild Larys is capable of. Daemon makes no choice, and it’s not clear whether he holds back out of respect for his wife – he does appear to have some – or from horror at the decision itself, a weakness in the face of unimaginable crisis. We finish with Daemon once again widowed – it’s becoming a habit – and Rhaenyra leaving King’s Landing for her ancestral fortress on Dragonstone, abandoning the court and its machinations to her rival. If her own death is certain and she accepts that, wouldn’t she let them try to save the child? Lord Lyonel Strong (Gavin Spokes) has offered to resign as Hand of the king following Harwin’s brawl, but Viserys won’t hear it – so Lyonel has begged leave to at least escort his son home to their (famously unlucky) stronghold of Harrenhal. Alicent obviously knows about it, but no one will make the accusation publicly for fear of treason – and Viserys (Paddy Considine) is willfully blind to the whole thing. The umbilical cord is barely cut before there’s a demand from the queen to see the baby: Rhaenyra, stubborn to the bone, insists on carrying the baby herself as a sort of passive resistance. Aegon and Rhaenyra’s eldest, Jacaerys aka Jace (Leo Hart), team up to play a trick on Aegon’s dragonless younger brother, Aemond (Leo Ashton), in the shadowy depths of the Dragonpit, which prompts Alicent’s fury at her eldest because she needs her sons to stick together against their nephews. But perhaps the most illuminating exchange is the scene where Alicent interrupts her son Aegon (Ty Tennant) during his, er, private time (a boy prince wanking over an entire city is quite the metaphor) to explain to him the existential threat that his nephews pose. With the women confined to bickering by court protocol and a shared deference to Viserys, their rivalry plays out by proxy.
With a new cast, shock torchings and GoT-level villains, this is brutal, brilliant television that sets the stage for the wars to come.
It is a wonderfully auspicious ending to the most enjoyable episode of Alicent’s shock at this development is telling – she’s a schemer, sure, but she hasn’t gone full Cersei quite yet, and the fact that her closest collaborator has just knocked off his entire family is still a bracing bit of news. That is never going to happen, because not only is Aegon a bully, but his mother is behind him all the way. He has even got a family in tow: the redoubtable Laena Velaryon (Nanna Blondell) and their two daughters – one, Baela, a dragonrider; the other, Rhaena, hoping to be. This is the episode’s second and far grimmer nativity, as Laena realises that neither she nor her unborn infant are going to survive the birthing process and decides instead to die swiftly, by dragonfire. Alicent has become a mistress of whispers, spreading word around the court that Laenor is not the father of Rhaenyra’s children. And here is the boy in question: young Prince Jacaerys Velaryon (Leo Hart) with his little brother Lucerys (Harvey Sadler), escorted by a strapping swordsman with a distinct resemblance to both. It’s another superb scene of character-building, with the King’s presence on the battlements echoing that of Ned Stark in the very first episode of Thrones. After teasing his dragonless younger brother Prince Aemond (Leo Ashton) by fitting wings to a pig, Aegon next appears proudly masturbating from his bedroom window over the rooftops of King’s Landing. Rhaenyra is not about to let him out of her sight, so it’s off through the Red Keep, step by painful step, with the child in her arms and Laenor fussing by her side. Milly Alcock was a terrific young Rhaenyra but D’Arcy is a force of nature, determined and relentless. The producers didn’t exactly advertise the fact that a major time-jump was coming (10 years, as it turns out), or that key young cast members were about to be swapped out for older actors.
A spoiler-free deep dive into "The Princess and the Queen," featuring info on how to hatch and bond with a dragon, what we missed with Laena and the Strongs ...
Alicent and Rhaenyra are not formal members of the Small Council, but they sit in on the meetings all the same. While not typically a Small Council position, we saw Daemon sitting on the council early in the series, and this role is important regardless. As such, he’s able to arrange the release of several inmates from the Red Keep’s dungeon, on the condition that they help him with his family problems—and that they also give up their tongues. This line in the book is echoed by Alicent in this episode, when she tells Viserys, “It’s a wonder to me their eggs ever hatched.” But the logic in both the book and the show is bizarre. Laena, Daemon, and Rhaenyra would all frequently fly together in Fire & Blood, and Rhaenyra is actually present for the birth depicted in this episode, having flown to Laena to help attend to her through the pregnancy. He flies back to Runestone to lay claim to Rhea’s inheritance and is exiled from the Vale as well. “But the birth in turn of three young dragons gave the lie to their words.” The book says that during the reign of King Viserys, it became “customary for the fathers and mothers of newborn princelings to place a dragon’s egg in their cradles.” Yet the book also implies that Aegon, Helaena, and Aemond didn’t receive eggs in their cradles, as Aegon’s dragon, Sunfyre, hatches at Dragonmont. It isn’t until the account of how Rhaena Targaryen—the daughter of Aenys—placed eggs in the cradles of Jaehaerys and Alysanne that we learn of Targaryens getting matched with eggs, rather than dragons who had already hatched. Whatever the exact nature of the relationship between the Valyrians and dragons, that knowledge was lost after the Doom of Valyria, a cataclysmic event that completely destroyed the Valyrian Freehold within hours. The origins of the relationship between Targaryens and dragons is poorly understood. In A Dance With Dragons, Daenerys notes that to ride their dragons, the Valyrians of old would use “binding spells and sorcerous horns.” That explains only how Valyrians controlled their dragons in the air, not how they bonded with them.
Here are five short rants based on Episode 6, “The Princess and the Queen.” ... Most of the episode is centered around Queen Alicent (Olivia Cooke) being in a ...
One of them self-immolates so that she doesn’t die in bed of sepsis thanks to a stuck baby. The episode makes it very clear that Laenor, who is very gay, has not done this, despite literally the entire fate of the world hanging on it. There’s this whole extended conversation in one of the books about Cersie Lannister not getting pregnant by Sir Boring of Blandwood because he pulls out and ejaculates on her stomach. It’s the most awkward scene in a series that includes at least one drawn out conversation about sex with a bear. So, Alicent whines to her only two conspirators that no one is on her side. Also, she’s mad Rhaenyra was out having sex with people as a teenager while she had to stay home and have sex with her former best friend’s dad, a job she willingly signed up for.
Episode 6 introduced the marriage of Daemon Targaryen and Laena Velaryon with a scene of them flying their respective dragons over Pentos. However, something ...
House of the Dragon seemed to be a compelling counterargument in favor of its use. It was hard to suspend your disbelief and buy into a sense that Laena (Nanna Blondell) was on a dragon and not strapped into some mechanical rig in front of a greenscreen. The Volume is ultimately just another tool in the toolbox. What makes House of the Dragon so different from Game of Thrones? While Danaerys Targaryen’s three dragons were epic, House of the Dragon apparently has Episode 6 introduced the marriage of Daemon Targaryen and Laena Velaryon with a scene of them flying their respective dragons over Pentos.
The episode begins with Rhaenyra Targaryen (D'Arcy) giving birth to her third son since marrying Laenor Velaryon (John MacMillan), though it quickly becomes ...
To put it another way: House of the Dragon works best when it’s able to use its source material’s format to imbue its own story with a sense of inescapable, slow-moving tragedy. That said, the show’s latest episode doesn’t just reveal the limitations of its own source material, but also the ways in which House of the Dragon’s storytelling can suffer when it relies too heavily on the structure of a fictional history book like Fire & Blood. Their relationship is foreshadowed in the show’s earlier episodes through a handful of small, very easy-to-miss moments, but, when House of the Dragon Episode 6 begins, Rhaenyra seems closer to Harwin than anyone else in King’s Landing. A Source Material’s Limits — There are moments in House of the Dragon Episode 6 when it feels like we are being shown the Cliffnotes version of a story rather than the full, expanded text. To say that House of the Dragon Episode 6 tries to pull off a lot would be an understatement. In House of the Dragon Episode 6, this narrative urgency means viewers are given the bare minimum when it comes to important storylines like Harwin and Rhaenyra’s unspoken love story. the military conflict that will make up the bulk of its future seasons). Indeed, by the time that “The Princess and the Queen” has begun, Daemon Targaryen (Matt Smith) and Instead, the episode also brings several major storylines to an end, killing off Laena and Harwin in the very same hour that they become relevant. Unfortunately, that fact has never been more apparent than as it is in House of the Dragon’s sixth and most recent installment. [Emma D’Arcy and Olivia Cooke](https://www.inverse.com/entertainment/house-of-the-dragon-season-1-midseason-time-jump), who have officially taken over the roles of Rhaenyra Targaryen and Alicent Hightower, respectively. Meanwhile, in the 10 years since Rhaenyra and Laenor’s wedding, Alicent Hightower (Cooke) and Ser Criston Cole (Fabien Frankel) have become even more bitter and petty.