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‘House of the Dragon’ Episode 10: War Is the Only Option Left

By Kaleena Rivera | TV | October 27, 2022 |

By Kaleena Rivera | TV | October 27, 2022 |


HotD-HBO-elliot grihault-emma d'arcy.jpg

(spoilers for episode ten)


When legacy is of the highest priority, children are the most reliable means of securing one that can endure. Children function as a throughline for the past into the future in equal or greater measure to any given monument or esteemed hall. But for all of the abundant messaging on patriarchal standards and the resulting exploitation of kids, especially daughters, what has always given Game of Thrones and House of the Dragon an acute sense of humanity is the emotional connection between parents and their children. Yet I argue that as strong as most of the seasons of Game of Thrones was, House of the Dragon is proving itself capable of handling those relationships with more nuance and in grounded action. The lines between power plays and the regard for a child’s well-being are often blurred, but there’s no doubt that love plays nearly as much of a role in the decision-making that’s taken place over the season, yes, even the bad ones. Unfortunately, no amount of adoration can keep these children, no matter how young, safe when it comes to the struggle for the throne, a tragedy made moreso by the reverberations that will manifest into war.

Difficult childbirth bookends both sides of the season, as well as the sad cremation of a newborn, but where Aemma’s labor was intended to parallel the “battlefield,” Rhaenyra’s premature labor is brought on by the actual possibility of war being brought to her proverbial doorstep. Meanwhile, Daemon, knowing full well how perilous labor can be but also unable to do anything of much value, oversees the war preparations. It’s a sensible enough decision considering he’s a man who does nothing better than go to battle, but Rhaenyra knows him all too well and brings the planning to a near halt thanks to Jace.

Despite the immense betrayal at King’s Landing which also cost her a child, Rhaenyra maintains a cool-headedness that is rather commendable. Whatever spark remains in her after her tragic miscarriage is revived back to a small flame once Ser Erryk Cargyll, who’s fully defected at this point, brings Viserys’ crown to her. It is Daemon who places the crown on her head in a poignant recall to when he replaced it on his brother’s head only days earlier.

Rhaenys is the sole holdout (understandably) when it comes to displaying fealty to the new queen, but it’s Rhaenyra’s even-handed response to the entire ordeal that inspires her to reconsider. Unlike Alicent, Rhaenyra doesn’t need to push or cajol for loyalty—I think her younger version would have applied force similar to Daemon, but age seems to have lent her more of her father’s temperament, hopefully sans naivete—she only needs to assess the resources at hand before coming to any major decisions. Her resources also include Baela and Rhaena, whom she makes a point of bringing to her side around the war table (again, a marked difference from Alicent who relies solely on men to realize her ambitions). Her unwillingness to rush to set the world aflame demonstrates she’s already a better ruler than Aegon by a country mile, and it’s enough for Rhaenys to convince Corlys, who’s thankfully recovered from his ordeal, to dedicate their Velaryon fleet to the Black’s fight for succession.

It’s a stirring moment for certain, especially when Rhaenys volunteers to patrol with Meleys, but there’s no denying this is an uphill battle. As obnoxious as Otto’s lengthy speech on the bridge was (Daemon: “I would rather feed my sons to the dragons than have them carry shields and cups for your drunken, usurper c*nt of a king.”), he’s not wrong that Aegon now possesses “every symbol of legitimacy”; this along with his gender is enough to make people forget “stale oaths.” Otto is a bastard of the highest ranking, but the man knows how to talk. When he presents the page Rhaenyra tore from that history book back in episode one (Alicent: “What are you doing?” Rhaenyra: “So you remember.”) to her in an attempt to use any lingering affection she may have for Alicent against her, it cools her quickly growing anger. Featuring that page one or two more times in the series would have given the scene more emotional heft, but thankfully, Ifans and D’Arcy do all the heavy lifting and make the moment land where it needs to. At least it’s not as clunky as the scene with Daemon choking Rhaenyra; I don’t have a problem buying him laying hands on his wife (he’s never been a good man, per se), but a small lead up would have made it feel less abrupt.

When it comes time for the Blacks to lock down their allies, Jace recommends he and his brother go as envoys, a suggestion that rings out with all the heaviness of a doomsday clock’s first strike of the hour. Luke heads to Storm’s End to negotiate with Lord Borros Baratheon (Roger Evans). The only measure Rhaenyra can take for their safety is to make both boys swear to the Seven that they won’t engage in any fighting, which they do without argument. For all the objections regarding the lack of character development (myself included), the series has done a good job conveying how hard Jace and Luke work to not only make their mother happy, but to fulfill the roles required from each of them. Evidence suggests that their “illegitimacy” obliged them to work even harder to earn the positions granted to them, which is in stark contrast to the legitimate Aegon who literally had to be dragged kicking and screaming to the throne. It’s near impossible not to like these two boys. But when Rhaenyra holds the younger, more timid Luke’s hand in hers as she hands him her message, her rubbing pinky finger quietly conveying the soothing love of a mother who must maintain the decorum of a proud queen, it’s clear something horrible is about to happen.

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How horrible, I wasn’t able to guess. When Luke arrives to Storm’s End, it’s revealed Aemond has beaten him to the punch. Even worse, Aegon has offered Aemond’s hand in marriage, a card that Rhaenyra’s camp isn’t really able to play. With no terms to offer aside from a sense of honor, Borros rudely dismisses Luke. But Aemond is even more unhinged than I previously expected, because he proceeds to drum up his old grudge by demanding Luke’s eye in the middle of his would-be father-in-law’s hall. He’s only stopped by Borros, who may be rude but certainly abides by the rule of seeing that no harm comes to any guests under his roof. There’s a sigh of relief when Luke gets Arrax off the ground, but any relief is quickly ruined by the torrential storm and then the horrible appearance of Aemond astride Vhagar.

We’ve seen what it looks like when dragons gambol in the air (when Laena, who seems to be the more capable rider, on Vhagar with Daemon on Caraxes), but this is far from mere play. Several times it’s been mentioned that while dragons are loyal to those of Targaryen blood, they’re still beasts with their own thoughts and motivations. So when both riders lose control of their individual dragons, one out of fear, one from fury, all we can do is expect the unexpected. But there’s no scene in the entire season more cruel than the moment when Luke and Arrax finally emerge into the tranquil sunshine only for Vhagar’s enormous jaws to tear them asunder.

With Storm’s End being a short ride away, it wouldn’t take long for a search party to form and subsequently find the remains. Of course, it’s Daemon who delivers the horrific news to Rheanyra. The audience can only watch her from behind as she registers the unimaginable. In a 48-hour span, Rheanyra has lost her father and her baby; now her dearly beloved second eldest, that sweet boy who once expressed a wish to never inherit Driftmark because if he did, it would mean his grandfather and father (Corlys and Laenor) are gone, is dead. In my favorite closing shot in recent memory, Rhaenyra slowly turns to camera, with every ounce of grief, fury, and vengeance gleaming from her face. There’s no mistaking that there’s no longer any peace to be had. War is the only option left. The only question now is who will be left now that the war has begun?

Kaleena Rivera is the TV Editor for Pajiba. When she isn’t crying, “But he was such a sweet boy!” out to the ether, she can be found on Twitter here.



Image sources (in order of posting): Ollie Upton / HBO, HBO Max Screenshot