#hotd ableism

[gwenllian-in-the-abbey]

i think Helaena can be autistic but also a happy and joyful girl , autism ≠ depression. the way the portrayed the only neurodivergent character on screen as unstable, shunned depressed, and with no importance to the plot feel very ableist and weird , but then they're the ones who made the guy with a foot disability a feet fetishist 🫠

Hi OP, finally answering this because the trailer dropped and still the only Helaena shots we have are from her Jaehaerys' funeral. There is also one still photo of her. If you haven't seen it, here she is, apparently sewing the funeral shroud for her little boy:

So it seems like season 2 is going to continue on this trajectory for Helaena as a character who exists in order to suffer beautifully.

Don't get me wrong. I am glad that the show is going to wring the full emotional effect from Blood and Cheese, not just shock value. The audience will feel the real horror of a six year old child brutally murdered in his own home and the psychological torment of Helaena. It should be terrible, it should be devastating, and I hope they do not pull any punches.

What's disappointing about how the show has handled Helaena is that they didn't really put any effort into building up her character before her tragedy. It's all well and good that she likes bugs and she's touch averse, but what are her opinions? Who is she closest to? How did she react to becoming a mother so young? To what extent does she understand her visions? What does she value? She can be happy and cheerful, or she can be frustrated and angry, and hell, she can be depressed too, but I need to know why. It's telling that I can describe the basic internal motivations for each of the male children, including Luke who was a glorified plot device, but I cannot for Helaena. Aegon wants to feel loved, Jace wants to prove he's as worthy as any trueborn heir, Aemond wants what his brother has, Luke wants to be free from his family's expectations. Helaena? Fuck if I know. I guess she wants not to die horribly.

The ableism is an issue. F&B is full of women who were deemed "simple" -- Gael, Daella, Jaehaera-- without being given much else to define them, and HotD adds another (there's something, I think, to the way the "simple" Targaryens are always women and how disability kind of used as a way to remove them from the narrative and shunt them aside, often tragically). And while it's great to see an autistic person represented on screen, the show consistently has an issue with treating representation as characterization. "Autistic girl who likes bugs" is not a personality. Autistic people, (even those with horrifying prophesies I assume), do have hopes and dreams and feelings about things. The one peek we get into Helaena's life is at the in episode 8 when she roasts Aegon and even that scene is open to interpretation (and gets taken wildly out of context). Now, I can read a lot into the actor performances, but ultimately, lines that could have given a glimpse Helaena personality were cut. It's as if they're afraid that if they give her an opinion on anything she would lose that (frankly kind of infantilizing) "pure cinnamon roll too good for this world" "i would die for her" sympathy from people who are not inclined to be sympathetic for her family as a whole.

(And anon, you're right about Larys. And let me say, turning Larys' clubfoot into the punchline of an OnlyFeet joke also does not inspire confidence that they'll handle Aegon II's eventual disability with any sensitivity either, especially when Mushroom's accounts of his last few months are incredibly mean spirited. We need to start that discourse now so they get the memo).

Sadly, I don't think the show really has any intention of course correcting with Helaena in season 2. I imagine at most we'll have her try to warn Aegon and/or Aemond about Blood & Cheese but they won't understand her warning, and then this will be a vehicle to further their guilt and grief. And while we do need to see Aegon's guilt and his grief, I also want to know if Helaena blames herself, if she wishes they'd run away when they had the chance, if she thinks Aegon could have done something, if she is angry at Aemond for killing Luke, if she wants revenge. I do think, with the public funeral for Jaehaerys, they are going to show that the smallfolk are fond of Helaena, and hopefully that will be expanded upon this season and in season 3 because her death is the catalyst for the revolt that sees Rhaenyra driven from the city, and we should understand why her death has such an impact before she actually dies.

[lunamond]

Love it when a modern "progressive" show makes all the evildoers physically disabled.

Larys has a Clubfoot, Aemond gets his eye cut out, and now Aegon is burnt and missing appendages.

Isn't it convenient that we can immediately tell a person is bad because their body looks different?

And of course, we don't explore any discrimination against these characters because they're horrible, and we shouldn't feel bad for horrible people.

People were mean to Larys because of his Clubfoot? But don't you know he has a gross foot fetish?

Aemond has impaired vision? But his eyepatch looks cool, and he is still a good fighter, so what is he even complaining about?

Aegon has been severely burnt? But he is a rapist and so let's make jokes about his dick burning off, lol.

[atopcat]

The writers are trying to portray Alicent’s treachery as “empowering”, Rhaenicents are insisting she should put herself first instead of her children, fans who prefer fanfiction over solid writing genuinely think this is peak feminism. Well it’s none of these, Alicent’s betrayal is linked to ableism, doesn’t matter what the writers say because that’s what we’re being shown on screen.

He was already an abusive drunk when she was trying to undermine Rhaenyra's claim, a rapist when she usurped Rhaenyra, and he was watching little children fight to the death when she stood between him and Rhaenys' dragon.

So what's changed? Why is she now suddenly deciding to throw her children to the wolves? Simple, Aegon's crippled.

That isn't the face of a mother fearing for her son's life, this isn't S1!Alicent who was ready to attack the Crown Princess to avenge her son, this is a woman who wants nothing to do with a disabled child.

I need to make it clear I'm not defending Aegon, I'm simply pointing out that the writers are suggesting Alicent can still love her son even though he's a child abusing rapist but will stop loving him once he's been wounded and left incapacitated.

Translation: One son lost an eye, the other is horrifically incinerated and my daughter is mentally unstable. I don't want these kids anymore, so I might as well run away after selling them to the enemy 👍

Rhaenyra demands "a son for a son" and she happily complies, she doesn't even ask for Daemon to be punished!

The writing is ableist, the show is telling us people who are disabled are of no value, it is "empowering" for a woman to kill her children because they're better off dead anyway.

[alicentflorent]

I really don’t like the ableist implications I’ve seen coming from some fans on the Alicent’s reaction to aegon’s death sentence. “Alicent accepted Aegon’s death because he’s already half dead and in severe pain with no quality of life” As someone living with severe chronic pain amongst other things, I resent that sentiment. Yes, becoming severely disabled and living in constant agony can be a kind of hell that you just wish would end. Aegon, the person who actually became disabled and from his perspective, has had his life life ruined, decided he wanted to live.

I didn’t read Alicent bringing up his disability as her accepting that he’s better off dead but more as her trying to tell Rhaenyra “look he has no quality of life, he’s already paying a great price and is no longer a challenge to you” and Rhaenyra says it doesn’t matter because she has to publicly execute him to take the throne and secure her claim. The very idea that Alicent accepts his death because he’s so “broken” and therefore his life is less valid is already is a dangerous message and harms actual disabled people. Disabled people who see your posts debating on whether a life of pain and disability is worth living and if it’s okay that a mother of a disabled person can rationalise their murder because it ends their suffering.

Media does not exist in a vacuum and has real world implications especially when we touch on subjects like ableism, racism, sexual assault etc. both fans and showrunners alike need to be careful about what they’re putting out there when addressing these subjects.

[nikosdaydreams]

im actually cackling some tb fans are genuinely delusional because tell me why i just read a post saying,

"aemond isn't disabled and shouldn't be classified as such because he still has his other eye!"

pardon...?

atp they're trying so hard to justify their ableist jokes

[friendly-stardust]

If you had the chance to change something about the dance of the dragons (TV show or book), what would it be? For example, how a character dies, which team a house is on,or an entire character personally. How would you change it to make the story better, in your opinion?♥️🖤💙💚

Thanks for the ask anon and sorry that it took me this long to reply. This is a tricky one and this can be long.

House of the Dragon is a complete mess and a mediocrity of a show on every level, except for the acting. The writing is at an abysmal level, and I am convinced that it only got the interest and the rating it got thanks to the fact that it is under GoT's umbrella. And the fact that the showrunners/writers decided to be ungrateful and to insult the very show thanks to which their shitty fanfiction is even relevant, tells me everything I need to know about the arrogance and the ignorance existing behind this travesty of a show. The showrunners/writers seem to have completely misunderstood the themes of The Dance dealing mainly with class stratification, the corruptible nature of power, the consequences of blind ambition, and the pitfalls of unchecked privilege, reducing it all to a dumbed-down and pandering fanfiction in which tokenism, outdated and bigoted caricatures, and banal depiction of sexual assault are used casually as tropes, while pretending to write a 'feminist' or a 'progressive’ show. So, for House of the Dragon, EVERYTHING is to be changed.

Rhaenyra should have never been written as the main protagonist: From Episode one, we already have a failure in our hand with the writing as the showrunners decided to solely use Rhaenyra as our main protagonist in a show that is supposed to depict a severe and ineluctable succession crisis at the top of the Kingdom, resulting in the splintering and in the factionalism of the ruling family. Because, at the heart of this story, this IS the main thematic of the Dance - the civil war that will be tearing the ruling family at the head of the Realm apart and, consequently, the Realm itself apart (except for Dorne which was not yet part of the Seven Kingdom). We should have had different POVs to illustrate the deep divide that have been festering within the Targaryen clan itself and POVs from some of the closest families around them helping them rule. So, if it was me writing this, the POVs would have been: • Alicent - for the Hightowers POV, to see things through her lends and because of the important role she will have as a Queen in the future and as the head of one of the factions. • Rhaenyra - She will be the heir, one of the main claimants to the throne, and the head of the other main faction. • Daemon - self-explanatory. Playing his own partition/having his own ambition and need to be in power. • Corlys - to have a POV for the Velaryons and to highlight their side of the story and their narrative as a clan close to power. I would have made the Velaryons more politically savvy and Corlys primarily working with the sole perspective of preserving and consolidating the Velaryons' place of power/closeness to the Throne. As a whole, the Velaryons and Corlys' allegiance will clearly and only be for the Velaryon's name and clan. I would also use that POV to illustrate the Velaryons tinge of resentment towards Viserys and towards the dismissive way House Targaryen have treated them since Aemon's death. • Criston - POV of a lower-class man of Dornish descent getting into the heart of power and having to navigates its difficulties with his set of believes and morals, and how being in the middle of all this impacts his decisions and his ambition for the ascension of House Cole to a more prominent social status.

Using Season 1 as a set-up Season and not rush with catastrophic and mismanaged times skips: Season one should have really been a set-up season, taking the time to really put the foundations into place, while having enough belief in the story to give it the time needed to develop naturally. I believe that it is important to pose the base that the fracture in the clan Targaryen and with the Velaryons have been created since Aemon Targaryen's death which, according to me, is truly the start of this whole succession crisis. The Dance is just the poorly managed resultant of the whole process, seeping through several generations of resentment and hatred for one another. This will also completely negate all the stupid arguments I have seen online of 'if Viserys had married Laena, all this will not have happened'. This is because the show writers have failed the only-show fans who have no clues that the Velaryons have already threatened war during the whole Rhaenys vs Viserys ordeal. It would also emphasise the reason why it was important for Viserys to not shun the Velaryons and to keep a close alliance with them and would explain the reason why Vaemond became that adamant and not too keen on letting Rhaenyra's bastard usurp their ancestral throne. If only the Velaryons were taken seriously by the writers and not solely used as tokens and brownie points to prop-up Saint Rhaenyra?

Being aware of tokenism, bigotry and of anachronistic representations: This show seems to have been written by people who appear completely oblivious to how careful they should have been with how to manage negative stereotypes.

Avoiding Tokenism: From a standpoint of a Black woman like myself, the way the Velaryons were written was quite insulting. The showrunners/writers seem completely oblivious to how bad it looked to have the only House cast as Black being completely subservient, usurped and abused by their white-coded Targaryen counterparts, with no protest from most of them. The only one of them who protested – Vaemond - was villainised by the narrative and was made to say a misogynistic slur to justify his murder in open court. Murder which has no further consequence in the narrative. These showrunners/writers seem to not understand the racial implications that this casting choice creates in this world and seem completely ignorant to how to organically integrate that change into the narration and how to prevent stereotyping those race-swapped characters, so to not reduce the Velaryons to mere tokens. As a result, the writing made the Velaryons act like complete idiots devoid of any sense of pragmatism, strategic mindset, or political intellect, in a world that literally demands those characteristics of the people playing the game of throne. And the way Rhaenyra’s relationship to them was written also reeks of racist undertones. Overall, the way the Velaryons were written just demonstrates the ignorance and the shallowness we have behind this show and highlights the fact that the race-swapping was only made for aesthetic purposes and for some veneer of visual racial diversity.

And the best example to illustrate that vile treatments of the Velaryons is the way Laena and her daughters were written - not that Laenor or Corlys or Vaemond were spared either - but the treatment inflicted onto those female characters, now made WoC, represent better the showrunners/writer’s deep misogynoir, to which I am sure, they are completely oblivious. Laena's role and arc in the source material was completely butchered and diminished, by rewriting and reducing a feminine, beloved and desired (in her marriage to Daemon) woman - seduced and brazenly wanted by Daemon as his wife in F&B - into some teenager seducing the grown man Daemon, all while he only had eyes for the White girl Rhaenyra, actively feeding into the stereotypes about girls of colour growing up faster, having to be needy and desperate for men attention, and having to seek out male attention to be noticed. I mean, as if Laena was not beautiful enough for a man to notice her without her having to throw herself at him? But it doesn't stop there. They managed to erase her relationship with Rhaenyra, reducing it all to some repulsive scenario of pitting two women against each other for a man, the complete opposite of what happened in the source material, in addition of making Laena the ‘other woman’, the lesser desired one, and the unwanted wife, in her relationship with Daemon. And let not forget the trauma-porn inflicted on her WoC body in that violent and traumatic death, which is a complete bastardisation of an invented only-show concept of “a woman dying a dragon rider death” - whatever that means. Apparently, once Laena became mixed-race in the show, she became some thirsty, miserable, completely isolated woman, willing to go along with only being good enough as a second choice to her white husband, and dies violently by suicide instead of the beloved and cherished woman full of strength and humanity we have in her white woman depiction from F&B. The same abhorrent treatment was inflicted onto Baela and Rhaena, both written as some wallpapers and empty headed mute dolls with no layered personalities and no real wants of their owns, just willing to go along with anything, even to their own detriment (this includes Rhaenyra’s bastards sons taking precedent over them for Driftmark), as long as it favors and bolsters the causes and the ambition of Rhaenyra - the woman their father married just few weeks after their mother's funeral.

Avoiding Bigoted depictions:

a) Some of the tokenism arguments can also be applied to the showrunners/writers’ decision to depict Ser Criston Cole as a brown man of Dornish descent, which already comes with its own in-world racial undertones, while being very hell-bent on portraying his character as an emotional, thuggish, and resentment-driven character, who got his positions as hand-me-downs from two white women, instead of the intelligent, calculated man, always in control of his emotions, and above all, driven by ambition, and who got to the highest position of knighthood in Westeros by the merits of his own competence, as he was described as in his White-coded version in F&B. This illustrates once more the showrunners/writers’ incapability of understanding the tokenistic nature of their racial representation. Also, maybe unaware, and oblivious to their own bigotry on display in what they were implying here, the showrunners/writers went with the problematic trope of the savage, misogynist, and violent brown man for this character. And the fact that they decided to deliberately frame this brown man as some misogynist and vindictive man, unreasonable and unjustified in his anger towards his sexual predator when he is the victim of sexual assault in that “Rhaenyra’s sexual empowerment” episode, just disgusts me. As if his feelings and the shame he felt from the whole ordeal the next day, as a person, was to be dismissed or worst, mocked. The optics of the showrunners narratively dismissing his trauma while they have decided to change his race in the show, just highlights once more the racist undertone we have in the writing of some of the characters in this show. It also illustrates how out of touch the people behind this show are when it comes to representing power and racial dynamisms in a sensible way.

b) Larys Strong is the first disabled character we see on screen with his clubfoot and someone in the writing room though that it was a great idea to then transform him into some deviant sexual predator who gets off by fetishizing FEET. You cannot make this up! The showrunners/writers also butchered his character by making him the confirmed and sole murderer of his father and brother, when in the books, 3 other characters, Corlys, Viserys and Daemon, were also plausible culprits for that crime - but they are all Team Black so better whitewash them all and put it all on the disabled and only Team Green character that was also under suspicions for this murder. And all to see Alicent’s feet, ladies, and gentlemen! Instead of the enigmatic, calculated, and ambitious character we have depicted in F&B, the showrunners/writers made Larys Strong into some outdated caricature and despicable representation of a disabled character, embodiment of all of the devious and negative traits, by equating being disabled with being devious in morality and mentally. It is just a vile way to represent disabled characters, quite akin to the way they were viewed in medieval times as bearer of bad intentions/evilness, which also confirms the ableism and the hollow activism we have behind the scenes of this show.

Avoiding anachronistic representations:

a) Equating Alicent to a 'Woman for Trump' - a misogynist and reductive slur used within a very 21st century USA political discourse - while portraying a woman supposed to be within a setting mirroring medieval Europe, just shows the lack of culture, and of historical knowledge we have in this writers’ room.

b) Anachronistic girl boss characterisation: Rhaenys is written as a vessel to peddle nonsensical 21st century notions of White feminism, a hollow wannabe and anachronistic girl boss, spouting anachronistic speeches, while the show completely removed any agencies from most female characters, and took strong female characters from the original story and turned them into some victims of situations, none of their own doing of course, who constantly cry and are afraid of making any decisions, all while most of their negative traits are given to the male characters, absolute monsters and responsible for all woes that afflict the female characters. Also, Rhaenyra is whitewashed into some girl boss and some absurd notion of a ‘modern politician’ - modern in which historical period, no one knows – who spouts drivels like ‘when I am queen, I will make a new order’, to brazenly pander to Daenerys’ fanbase, when both women are nothing alike, except for the fact that both are Targaryen women.

4. Follow the source material and not thematically rewrite the Dance:

No Aegon I prophecy or dream. Maintain the Targaryens as the ruthless colonialists they are instead of trying to justify their reason to brutally colonise a whole continent. As a person from the African continent, this is not the kind of rhetoric I would like to see peddle, justifying colonisation in the name of some superior purpose.

No white stag apparition coming to anoint our Saint Disneyesque Girlboss Rhaenyra to rule. This is insulting to the intellect of people who want to see complex storytelling.

Completely rewrite the dreadful Episode 9 and make it as close as possible to the book’s depiction of the Green Council.

No Girlboss moment for Rhaenys, murdering hundreds of peasants and ruining Aegon’s coronation.

Erasing that bullshit about Alicent confusing Viserys last words and make the Green reason to crown Aegon and Helaena based on tradition and precedents, as in F&B, and not based on some feeble concept such as the King’s word. We are not in an Absolute Monarchy here, but the uncultured idiots we have behind this show don’t even know the difference.

Not erasing fat women representation with Rhaenyra and Helaena when you claim to be such ‘feminist’ and ‘inclusive’ show. Where is the inclusion of different female body shapes? Or are they not worthy of representation? Instead, we have one of your showrunners (the incompetent Sara Hess) using fatphobic language to make it seem like it is weird for a woman’s body to evolve after several pregnancies.

Showing women on the Green side (Alicent or Helaena) going through their pregnancies and giving birth.

Not erasing Helaena in her own coronation.

Not infantilising Helaena and making her a side character in some other characters story (Aegon, Jace).

Showing the Green kids with their dragons in Season 1. As it was portrayed in HotD, most casual viewers don’t realise that in real Targaryen fashion, those kids should have their dragons around them in most official displays (side eyeing the whole dragon pit debacle here).

Where is Sunfyre and a clear view of Dreamfyre?

Making Vhagar roar when Aemond eye was slashed.

Making one of the adult correct Baela’s and Rhaena’s wrong assumption that Aemond stole Vhagar. Why did the incompetent showrunners/writers even insinuate that foolishness in the first place without having one of the adults rectify the Dragon lore? We all know that it was to paint Aemond as the villain in this situation.

Making it more evident that Rhaenyra meant torture when she said, ‘sharply questioned’.

Why was Daeron and Maelor absent?

Not making the Dragon/owner bond murkier with that shitty and useless singing session from Daemon in Episode 10, when it is canon that one rider cannot have 2 dragons at the same time to ride. Surely Daemon, as verse into Valyrian lore as they proclaim him to be, should be aware of that. This is just confusing the casual viewers.

Using Mushroom's accounts for both the Greens and the Blacks – if I am using them at all.

Not erasing Mysaria’s miscarriage as it is part of her characterisation.

Not claiming to wanting to make a 50/50 adaptation when BTS the showrunner Ryan Condal is using gobbledygook such as ‘they made Aegon usurps his sister Rhaenyra’s throne’, when, by all Westerosi tradition and precedents, Aegon could not usurp what is already lawfully his as the first-born son of the King.

For the book version of the Dance, I don’t have much to change to be honest:

I would have significantly toned down the Daemon’s fest.

I would have made the Velaryon more neutral or playing both sides, with a strategic splitting of the House to support both sides.

I would have made some of the Houses change team, like for example, making the Royces in the Vale side with the Greens, splitting the allegiances in the Vale, to better illustrate how profoundly divided the whole Realm becomes with the war of succession.

The Redwynes (which I would have made the maternal side of Alicent) and most of the Reach would have sided with the Greens.

I would have betrothed Daeron to one of the other powerful Houses in the Reach.

No Wolf Hour.

No army pulled out of nowhere in the Riverlands after Aemond reduces them to crisp. Instead, some part of the Vale army would make the bulk of it.

Finally, no Jaehaera death. That was just petty and quite stupid writing from GRRM with no logical justification as to why she needed to die. No need for the “most sexy 6 years old” to ever exist in the story.

Jaehaera and Aegon III will have their children, who mostly have no real impact on the Targaryen line anyways, apart from Daena the Defiant who gave birth to House Blackfyre.

[perfinn]

the heat that drives the light

aemond targaryen x tyrell!oc - part ii

wc: 4.4k

summary: aemond confronts his mother about his betrothed, but the wedding goes ahead, leaving the prince to grapple with his complicated feelings toward the tyrell girl

cw: NSFW, blind character, period typical ableism, ableism in general, for prosperity dubcon (because aemond is (allegedly) not into cecily but he still feels like he has to do his duty. but both parties consent), period typical misogyny, aegon being a creep, allusions to aemond's 13th name day

masterlist, read on ao3, divider by saradika

Cecily Tyrell had not yet reached her seventh name day when she fell ill. A visit to the Arbour struck the young Lady down with an illness that not even the finest of the citadel’s archmaesters could name. It was believed she contracted it from a passing sailor on the docks of the Arbour, explaining away the mysterious nature of the sickness. Some maesters, younger and full of ideas, suggested it had come from Qarth, the work of some warlock testing the potential of pestilence as a form of warfare in enemy lands. Others, more experienced and grounded, were sure it was only some disease that the Essosi had grown strong against, that had gone from Essos so long ago no one had thought to mention it to Westerosi sailors on their shores. It had only struck Cecily because she was so young, they had supposed. 

But, regardless of anyone’s theories, there was no real answer. It was a mystery to all but the gods, Cecily’s mother had once said. Despite that no one had any real knowledge of the illness Lady Cecily’s father, Lord Martyn Tyrell, did not rest in having her treated. Cecily was his only child, and her birth had near killed his wife. He had no other heir, yes, but his determination was born from far more than the issue of succession. To lose his Cecily would be to lose half his heart. 

Cecily survived, of course, and thankfully did not infect another. However, despite all the treatment her little body could handle, her vision had been taken from her. She could not see a thing but for a blur of colours, and even then only in the bright sunlight. 

“I’ve come to see my mother.”

Criston Cole looks the young prince over with a carefully neutral gaze. Aemond is certain Cole knows how to read him, certain he sees the tension lacing his shoulders almost up to his ears. He does not care, though, what the knight sees. 

“Cole.”

Cole appears to contemplate another moment before he nods and opens the door to the queen’s solar, announcing Aemond’s arrival. 

Alicent stands to greet him, eyes following him as he stalks into the room, standing across from her. Her face, which had been a smile to greet her son, falls to a confused frown. 

“Something is the matter,” she says, tone lowered inquisitively. She broaches the topic with a statement, not a question. She knows Aemond better than she knows her other children, can read him like a book at the worst of times. They’re alike, perhaps too alike. 

“I’ve seen the Tyrell girl.”

Alicent closes her mouth, exhaling deeply through her nose and lowering herself to sit again. She pinches the bridge of her nose, taking a moment before looking back at her son. “You weren’t supposed to see her until the wedding.”

“I’m aware,” says Aemond, voice clipped. “And I can see why. I won’t wed her.”

“This is not up for negotiation, Aemond.”

“I’m not going to suffer this humiliation just for political gain,” he says sharply. “Just because I’ve lost half my sight-”

“I did not pick her for you because of her blindness,” Alicent says, standing back up and approaching the tense prince. “How could I do that to you? When have you known me to have anything but your best interests at heart? I chose her for you because I believe she is a fine match. She is as shrewd as she is pretty, she has a sense of humour, she has a political mind, and someday she will be the Wardeness of the South. A fine one, at that. If I had wanted an easy political alliance, I would have offered her Daeron’s hand. It would have been a lot quicker. They could have wed in Highgarden and it could be done by now. But I want for my children to be happy, Aemond.”

Aemond hums and bites back a remark about Helaena and Aegon, but he’s just rational enough to hear his mother out. It will do little good to hear her reasoning, though. Her good intentions cannot dull the blow of his embarrassment. 

“I believe that the two of you can build something wonderful together,” Alicent says, taking Aemond’s arms. Her touch is gentle, a comfort, but not one Aemond wants to be given now. 

Aemond can hardly unclench his jaw enough to speak in clear sentences. “Then why was she to be kept from me?” 

“The decision was not mine. Lord Martyn wished for her to be kept separate from you until you meet her at the ceremony.”

Aemond shifts, an odd swell of defensiveness building in his chest. Not for her, he tells himself. For me. “He is ashamed of her?”

“Quite the opposite. He loves that girl more than anything, he is just worried. He fears there is an issue of succession, he is paranoid Cecily’s claim will be threatened.”

Sounds like someone else I know, thinks Aemond bitterly. 

“He doesn't want anything to jeopardise this union, including you.”

“He was right to worry, mother,” he snaps, pulling away from her. “I will not be forced into this union. I am owed more than an invalid!”

“Aemond,” hisses Alicent. “You can hate this until the day you die, but it is happening, and you will try to be a good husband to her. We must make sacrifices for the sake of our family.”

She thinks he is being irrational, and perhaps she’s right. But he has earned the right to irrationality, has he not? He was robbed of his eye, he received no retribution, and now it is all anyone ever sees. His mother can speak all she wishes of Cecily’s attributes, it is all overshadowed by her weakness. A weakness he does not share, no matter what anyone would whisper. How much more must he sacrifice for the sake of this family?

He clenches his jaw, turning away from his mother and moving to leave the room. “You do not know me as well as you thought you did. You should have saved everyone the time and married her to Daeron.”

Despite Aemond’s week of staunch refusal and threats to fly off on dragonback and never return, the wedding goes ahead. Somehow, he’s wrestled into the Red Keep’s sept and made to await his bride. 

Instead of his preferred dark green clothing, he’s been forced into a black doublet with a dark red undershirt. It makes him uncomfortable not for the feel of it – the fabric is luscious and comfortable and it fits him perfectly – but for what the colours represent. That he is a prince of House Targaryen. This he knows, of course, but it feels nothing more than a name to him. He feels that Hightower blood flows far stronger through him than any other, though he would never dare admit it aloud. 

No one would understand him. No one ever has. 

He fiddles with the dark red silk poking out of his sleeve, expression turned down in the scowl that’s made itself quite at home on his face, loathing the thing. He does not make a habit of fidgeting with his clothes, but his hatred for the fabric overpowers his usual composure. 

(Why do you bother, Aemond? he thinks. She will not even see it.)

If his father had any say in it Aemond would surely have the Three Headed Dragon emblazoned across his damned eyepatch, just to drive the message home. Maybe his betrothed’s blindness has spared him of that, for she’d never be able to appreciate it anyway. He’s certain that this tiny mercy is all her disability will ever do for him. 

When the murmuring sept falls quiet, Aemond clenches his fists by his side. He remains facing the statues of the Mother and the Father, watching the way the sun filters through stained glass and lights up the visage of the gods as his betrothed approaches him. He only turns when she is behind him, prepared to take her hand from her father.

Aemond expects to see what he’s come to expect of House Tyrell; opulence and shining silk inlaid with gems, disgusting shows of wealth for the sake of maintaining their status. He hates it, most ardently, but he finds he does not see it reflected in Cecily. 

Cecily’s face is hidden by a gauzy ivory veil, embroidered with pale pink roses. Her dress is creamy white, similarly embroidered with all manner of flowers the names of which Aemond could not hope to recall. It is well made and no doubt expensive, but it is not so far into the realm of ostentation that he wishes to turn away in disgust, he would go so far as to call it… pretty. 

She looks pretty, in ivory lace and the fern green maiden’s cloak that lays over her shoulders. He almost dreads to lift her veil and be so harshly reminded of the cloud over her eyes. He takes her hand, gently guiding her up the steps. 

“Last one,” he murmurs, instantly cursing himself for his kindness to her when she murmurs her thanks. He does not understand himself. He understands himself even less when he hesitates before he reaches for her veil. “Your veil. May I?”

(He does not like her but he will not be a cruel husband. He will not delight in frightening her, he will take whatever care he must to be better than the husbands in his family. She is a rose most delicate, more so than any other. No matter his resentment, she will be his wife and hence shall be handled with care.)

He sees that shrewd smile behind her veil, and sees her nod. “Of course.”

Gods, her voice is sweeter than he remembers. The memories of it which have echoed in his head each night since they met do it no justice. 

He takes her veil between his gloved fingers, lifting it up over her face and settling it over the crown of flowers that secure it to her hair. Her eyes are turned up to him, even if she does not see. He sees the greyish film over them and the gentle feelings are frozen, replaced once more with resentment. 

If he were to turn and run now, would anyone dare to stop him?

Alas, he stays where he is and goes through the proceedings of the union as he’s expected to. Despite his ample protests, there is still a large part of him that longs to be his mother’s dutiful son. 

He reaches to remove the green cloak from her shoulders, running his thumb gently over the embroidered gold trim, and replaces it with one of red and black. Black dragons dance across the fabric, and a smile dances across Cecily’s face. 

With the septon’s blessing and declaration of their union, Aemond takes both her hands. He hesitates a moment as he sees Cecily close her eyes, wondering what’s going on in her head. Is she afraid? Excited? He finds her impossible to read, and he finds it’s driving him mad. Still, he leans down and presses his lips gently to hers. They’re petal soft against his but he does not let it linger. 

He fears if he does he will get lost in it, in the smell of flowers on her skin and the softness of her pink lips. He will not fall to the weak man’s game of lust, no matter if she is his wife under the Seven’s eye. The sept erupts into cheers for the new couple, and Aemond does not miss the way Cecily flinches at the sudden barrage of noise. 

He finds himself cursing their guests for frightening his wife, and he does not know why. 

Aemond is not granted a moment to speak with Cecily until the two of them are sitting beside one another at their wedding banquet, his new wife placed on the side of his good eye. 

The food is placed before them, and the first words his bride speaks to him in near-privacy are, “What have they prepared?”

Aemond taps his finger against the arm of his chair, looking between Cecily and the meal before him. “You seemed to have a keen sense of smell when last we met.”

Cecily chuckles, nodding slowly as she feels across the table for her fork. “As far as anyone but you, Flora, and myself is concerned, that meeting did not happen. But yes, I can smell things better than most, though it may only take me so far. I can smell, hm… fowl, and vegetables, and I can smell spiced honey, and of course the wine that flows from our cups.”

Aemond looks down at his plate, scowling at the sheer aptitude of her nose’s instinct. “It is honey glazed duck with stewed vegetables.”

“Ah!” Cecily delights, brightening with a smile. “It has been some time since my nose has served me this well. The Gods must smile on us today.”

Aemond scoffs. “The Gods have more important matters to tend to than what a blind girl smells for her dinner.”

“The Seven looks upon us always, lord husband, always,” she says as she begins to eat her food. Aemond scowls. She seems pious, even if she does not act as demure as a woman should. He supposes that very few women he knows do, so he shouldn’t be surprised.

Cecily does not bother him while they eat, but he watches her and sees she has not switched off. She is listening to the conversations around her, brow turned down in focus. Aemond looks away from her and to the wine in his cup, finding himself trying to do the same. He does not tune into much except half a hushed conversation between his mother and his older brother. 

He hears the words “abhorrent” and “heretical” hissed from his mother, and decides the conversation is not one worth hearing. It does not surprise him to hear that said to Aegon.

When dinner is finished and their empty plates carried away, Cecily leans toward Aemond again. 

“I am sorry we cannot share a dance,” she says. 

Aemond looks over at her, seeing her hands are tracing once more over the embroidery of her dress. She had been doing the same when he barged into her chambers last week. Perhaps it’s a comfort for her. “I hate dancing.”

Cecily smiles at him. “I see. Lucky for us both then. Dancing with a partner is an impossibility with no vision, I can imagine halved vision only makes it an ordeal.”

“Mmm,” hums Aemond, feeling that he should be upset by her words. He hates for it to be brought up, but she’s correct. The lack of vision on one side makes dancing a near impossible task. Maybe he was wrong about her blindness offering him only one mercy. But he cannot imagine any more. “Quite.” 

Her smile stays on her face, radiant despite Aemond’s cold and dismissive tone. There is a hidden, traitorous part of him that wishes to get to know her. She’s his wife, after all. Maybe it would be beneficial to them both if he made some effort to know the woman he’s supposed to love under the Gods’ doctrine. The woman he’s meant to bed. But he strikes that traitorous urge down and shoves it back into the recesses of his mind. He does not need to know a woman to perform his duty. If nothing else, Aegon is evidence of that fact. 

After another moment of stubborn silence Cecily leans away, calling for her cousin Flora. “I shall go speak to our guests, lord husband. Would you like to join me?”

“No,” he says, waving his hand before remembering she can’t see it and hurriedly lowering it, as though embarrassed. “Go.”

He finally sees a hint of her enthusiasm leeched by his dismissive words, and cannot help but be satisfied by it as she stands and offers him a curtsey before turning to Flora and making her way toward where his mother and father – barely conscious of his surroundings – sit. He scowls, thinking of how strongly Cecily will smell Viserys’ rotting body. 

He stiffens when another stench places itself beside him, the familiar scent of Arbour red that always seems to hang off his brother. He does not acknowledge him at first, keeping his eye on his own cup – Arbour gold, as is his own preference on the rare days he sullies himself with drink – in the hope that Aegon will see he is not interested in speaking to him. 

He has, as ever, no such luck.

“Brother,” says Aegon, words slightly slurred. “You will be most happy with me today.”

“Will I?” says Aemond, setting his cup down but still not looking at him.

“Indeed. I have convinced our mother to forgo the bedding ceremony.”

This gives Aemond pause, and finally convinces him to turn his gaze to Aegon. Aegon grins. 

“I knew you’d like that. You’ll still need to consummate, but I’ve done the kindness of letting you do it in private.”

“How did you manage that?”

He shrugs. “A few well placed words about the Seven and decency. Appealing to mother’s faith will get you far, you know. Do not say I’ve never done anything for you. But listen–” Aemond should have known he would want something out of this. “– I can see you do not like her. You will not wish to lay with her, and I understand. But I do not give a fuck if she’s blind, in fact–”

“Do not dare suggest what you have in mind, brother–”

“Come now! I am just being the caring big brother I have always been, Aemond. If you cannot complete the act and you wish to call me in, she’ll be none the wiser. Even if you can, I would still appreciate a turn.”

“Hold your tongue,” Aemond hisses, reaching out and grabbing Aegon by the front of his wine-stained shirt. “You dishonour my wife and your own. Does your debauchery never cease?”

“Gods, brother!” Aegon huffs, clumsily trying to smack Aemond’s hand away. “Twas only a suggestion!”

“Cecily is my wife, and if I hear you’ve touched her you will no longer have a cock to shove in whichever serving girl next takes your fancy.” His voice is low, dangerous. Aegon, though, only seems amused as he holds his hands up in surrender. 

“Forgive me, I only hoped to save you from a girl you’re so clearly repulsed by,” he says, as though his intentions had been purely selfless and full of care for his brother. He is so drunk he does not realise that Aemond has never been more serious. “By all means, have the girl. But do tell me if her cunt really smells of roses.”

Aemond releases him roughly, sending the man tumbling off his chair, and stands with the intent to find his wife. He’s thankful to see her still standing before the queen and king with Flora.

He makes his way over, making his presence known to Cecily with a clearing of his throat. 

“Your husband,” Flora murmurs to Cecily, and the two of them offer curtsies to the prince. 

Aemond watches them for a moment before turning to his mother. “Aegon tells me you have decided there will be no bedding ceremony.”

Alicent offers her son a smile and nods. “Yes, we both agreed it was an affront to the Seven. And I am certain there will be proof enough of your consummation come the morning, won’t there?”

“With any luck, your grace,” says Cecily. 

“Good,” says Aemond, not acknowledging Cecily. “Then I wish to retire with my lady wife now. It will serve as a good excuse for father to go rest as well.”

“Right,” says Alicent, moving to stand with the intent to announce their departure, no doubt. 

“No need for an announcement,” he says, gesturing for her to sit back down. “We will go quietly. Lady Cecily, come.”

He holds out his arm and Flora carefully guides Cecily to take it, bidding her cousin good night and good luck.

Aemond leads Cecily up to his chambers, hesitating at the door. She has not said a word the whole way. Is she afraid, as he is? Nervous? It would be only logical. Even without the worry of lords of the realm witnessing their coupling, it is daunting for Aemond. He cannot imagine the fear it would cause in someone who has not done it before. 

He opens the door, gently leading her inside by a hand on the small of her back. “I will help you find your way around until you learn it,” he tells her. 

“Thank you, my lord,” she says, fiddling again with her dress. “Do you know why we’ve been allowed to do this without spectators?”

“A kindness brokered by my brother,” says Aemond, closing the door and looking to her as she stands in the middle of the room, aimless. A sting of repulsion twists in his chest. It feels all too similar to self-loathing, though he cannot know why. “I’m sure it is all we will get in lieu of a wedding gift.”

“Ah, then I must make certain to thank him,” she says, reaching back to begin undoing the lacing of her gown.

“You should not trouble yourself with Aegon’s company,” he says firmly, looking away from her as though trying not to dishonour her in a state of undress. 

“Oh,” she murmurs, slipping off the dress so it pools around her ankles. She stands there in only her smallclothes. He glances up, catching sight of her as she slips her chemise from her shoulders and his breath catches in his throat. Her body, svelte but soft with a life of good food and comfort, is near bare before him. She smiles, evidently hoping he’s looking as she plays with her hands. “I hope I am pleasing to you. Will you help me to the bed?”

He watches her in silence for a moment, as though stunned by the sight of his wife almost naked. In a sense, he is. He had not expected Cecily to act quite so boldly. She is a confident woman and not demure as he is aware, but somehow he thought her nerves would get the better of her. Perhaps not being able to see his reactions helps.

Could she see, she would see a man stunned and frightened, and he finds himself thankful yet again for her blindness. He does not answer her but begins to slowly undress, first removing his gloves, then his boots, then he undoes the lacing of his doublet. As he does, he moves toward her. She perks, then stiffens, as though realising what those footsteps mean. 

He shrugs the doublet off, and reaches to take her hand. The touch of her bare skin against his, for the first time, burns hotter than dragonfire. 

He forces himself to lead her to the bed and watches as she sits down, shimmying up to lean against the pillows, hands settled in her lap as Aemond moves to sit down beside her. It feels wrong to be in a state of undress around a woman, even one who cannot see him. He hasn't allowed himself to be intimate with a woman since…

He pushes that thought from his mind. Hate Cecily as he does, she seems kind enough. Innocent, as he had once been. She will not laugh at him as those women did. 

(Gods, he hopes she is truly as kind as she makes out to be.)

Cecily shifts closer to him, gently feeling across the soft sheets for Aemond’s hand. She turns to face him, offering him a timid smile. “I am a maiden,” she tells him. “But I will try not to be boring for you.”

“You do not have to,” Aemond mumbles, watching her hand slide over his arm and onto his chest, then down. He feels his pulse quicken, but does not stop her. 

“I wish to,” she promises in a whisper. Her hand trails further down, to the waist of his trousers. 

Aemond clenches his jaw and reaches for her wrist as gently as he can manage, though he’s certain she feels the slight tremble in his grip. He moves her hand away, not meeting her eyes to avoid the look on her face– she must be mocking him. She must think him a fool, a boy, an invalid, just like she is. “Let us not make this more complicated than it ought to be.”

“But, I-”

“Lay back. I will do my best to be gentle.”

He finally looks up at her and what he sees is not a mocking sneer, but only confusion. Still, she obliges him and shifts to lay down on the bed, hands folded over her stomach. Aemond’s heart pangs with something he cannot hope to understand, but he ignores it. He undoes his pants, crawling over her and not wasting any further time. 

He goes as slow as he can manage to ease her into the feeling, but once he has broken her maidenhead he forces himself away from all sentimentality and care, moving instead with cold, hard duty. He does not let himself think about how she feels wrapped around his cock, soft and wet and warm and tight. He especially does not dare let himself look at her, does not dare see the expression of disappointment and upset that no doubt takes residence on her face. He cannot. 

After some time he comes with a grunt, taking a few steadying breaths to keep himself under control. To lose any part of his inhibitions now would be weakness. 

I am not weak, he thinks, not doing well to convince himself. Aemond Targaryen is not weak. 

He pulls out after a moment and rolls over to lay beside her. Cecily says nothing, but he sees her press her palms to her eyes and take a deep inhale. She’s trying not to cry. A better husband might comfort her, but Aemond cannot bring himself to do so when he cannot even comfort himself. So Aemond rolls over and listens to his wife try to keep her breathing even, feeling weaker than he has in many years.

part iii

[queenvhagar]

i never care about the targaryens and i don't think fire & blood is george's finest work but from time to time i mourn the fact that house of the dragon wasted one of the finest stories we had from westeros. we were supposed to be watching the disgrace of the targaryen dynasty and instead we got whatever house of the dragon is.

Truly could have been a fleshed out adaptation that genuinely improved and expanded upon the existing themes, characters, and story overall... but instead we get this 😔

[reyraereads]

I’m glad that I made Aegon’s Disability awareness and related trauma a significant aspect of his characterization in Through the Raging Flames. Because the fact that Team Black stans are defending the Greens being disabled because they are ‘villains’ therefore deserving of it is proof that ableism is in fact rife in this fandom and needs to be addressed more.

I knew shit was bad after reading their vile comments about Jaehaera, and how her death was justified to make way for the young, beautiful, non ‘simple’ Daenaera.

[kingcunny]

@/RobertRhodes160 on twitter

@/FaceEquality twitter faceequality website

[gwenllian-in-the-abbey]

Re: Larys Clubfoot. I was eagerly anticipating the influx of podcasts and YouTube channels dedicated to asoiaf that have/will continue to cover hotd ... only to forget just how gross and demeaning the foot jokes are, any time people bring up Alicent's hypocrisy and her involvement with Larys Strong. If Matthew Needham rightfully calling that scene sexual assault won't deter people to watch their mouths when it comes to reducing Larys to nothing more than an ableist joke, then boy am I going to limit my intake of engagement with these outlets as the seasons continue.

Agreed anon, it's really disappointing on multiple levels! This fandom likes to pat itself on the back for being more progressive than the GoT era fandom but a lot of that is pretty superficial. Larys is fascinating and I'm glad Matthew Needham is playing him because he's got a great take on the character but this fandom needs to do better.

[whitegownsandflowercrowns]

New hot take: Alicent agreeing to let Rhaenyra execute Aegon was not her being OOC, but rather her knowing that Aegon is in immense pain, being unsure if he’ll ever get better, suspecting that Aemond wants him dead, and having a mild heaping of that good old-fashioned Westerosi ableism, and truly believing that death is a kinder fate for him.

[pookiebearhelaena]

how you gonna be up in the jaehaera tags calling her jumphaera??🤔

[thestarlightforge]

To start off Disability Pride Month strong and celebrating the continuation of House of the Dragon season 2, I hope that Bran Stark gets so much sex and has so many kids, it ruins Westerosi democracy forever.

Sansa’s accusation of his impotence in the finale was some of the most random, casual, quite possibly inaccurate ableism I’ve ever witnessed. Lots of paralyzed people go on to lead active, fulfilling sex lives, some can still have children, and Ms. Queen of the North is not even a healer, much less a medical expert. Meanwhile, Bran is the Three-Eyed Raven, he can watch any sex scene his wild ass country has ever perpetrated from now till the beginning of time, and he’s had literally all the time in the world to study. He’s the king of a newly united Westeros, the world is his oyster, and by the Old Gods and the New, for all we know, he’s got Podrick’s magic dick.

In this essay I will—

[nikosdaydreams]

hmm

hot take but the fandom has no excuse to be ableist to the Greens just because they did bad things. You forget that a) disabled people can 100% do bad things, and b) people doing bad things is NOT an excuse to make fun of things that some people actually live with.

Calling Helaena and her children slurs is obviously ableist. Making fun of Aegon being burned and subsequently disabled is ableist. Calling Aemond "one-eyed freak" "pirate" "Cyclops" and the like is ableist.

Being on Team Green is not an excuse. Usurping a fake throne is not an excuse. Killing another fictional character is not an excuse.

Just because they are fictional does not mean it is an open gate for you to make fun of disabled people. Your words portray how you feel about real disabled people.

[perfinn]

the heat that drives the light

aemond targaryen x tyrell!oc

wc: 1.3k

summary: when aemond is betrothed to the elusive heir to highgarden, he finds that no one will tell him anything about her. he sets out to change that

cw: this is sort of a prologue. NOT x reader so dont bother me about it, blind oc, hints of period typical ableism, period typical sexism, aemond is an ass but we'll work at it

masterlist, read on ao3, divider by saradika

It doesn't surprise Aemond that he would be the one in his family saddled with a political marriage. In his own family, there are no women left for him. With Helaena married to Aegon, and Daemon’s daughters betrothed to his nephews, there is little other option. It only makes sense. However, that does not mean he has to like it. Hatred is born of the illogical.

When he was told he would wed the daughter of the Lord of Highgarden, he tried to say no. His mother would not hear it.

“You have denied three suitors already,” Alicent had said to her second son. “Your options are running out. You will marry the Tyrell girl, and that is the end of it.”

“I will not,” Aemond had grumbled. But his mother had not budged, and the engagement was sealed between himself and the only child of the Lord of Highgarden.

No one had told Aemond much about her, except that she was comely and that he would like her. He refused to go into a marriage with a girl he did not know, and the little he had been told was making him suspicious. Why hide her from him? The amount of times he’s heard comely makes him think she is some sort of beast to look upon.

He knows that in marrying her, he’ll be marrying the future Lady of Highgarden. It would be a position most powerful, as he assumes that a Lady’s husband would bear the brunt of the lordship. It makes perfect sense. Part of him is satisfied with the possibility of an ugly wife for the promise of power, but most of him is still just a man. How can anyone expect him to produce an heir with a twisted and ugly wife? He’d need to be blind in the other eye as well.

Cecily Tyrell arrives on a warm day, when the wind turns right so that the Red Keep smells of the flowers in the gardens rather than the stink of the city. He knows that their families mean for them to be kept apart until the ceremony, but he also knows this castle and its secrets better than most. Being forced out of the Keep and into stinking brothels by Aegon was not completely without merit.

He hears from a passing servant which room Lady Cecily will be staying in until the wedding, and pauses a moment to hear them whisper.

“Overlooking the Godswood,” says the young maidservant. Aemond has half a mind to admonish them for gossiping, before he remembers that it may be their job to know where she’s staying. “I hear it is so she can smell it all.”

Smell it all?

Aemond fails to decipher the meaning before he stops listening and leaves to find the girl. Once in the right hallway, he leans close to the doors as he passes them by. He suspects she will not be alone, undoubtedly accompanied by her ladies or a septa, if she's so young– he has not been told of her age either. Is he to be wed to a child? Or, Gods forbid, a wretched old spinster good only for her family's fortune?

He stops when he hears conversation behind one of the doors, hushed by the wood and carried by soft tones. Women, young ones.

The prince does not waste time in knocking. If there is unseemly behaviour, he will catch it, and if not, he does not care to look polite. He opens the heavy door as fluidly as he can manage, some part of him annoyed that his future wife is without the watch of a kingsguard.

The first woman he sees is facing away from him, sitting on an armchair. He can't see much of her but the long chestnut hair that flows down her back, strands pulled back and braided with budding flowers, and her hand which feels along the intricately carved arm of the chair. The second woman he sees is facing him, and she’s standing up in her shock.

It's clear from the look on her face she recognises Aemond, or at least has connected the dots from the way he may have been described to her. The woman facing away from him stiffens, and slowly reaches out to take the other woman’s hand as she too stands from her seat.

Why does she not face me? He wonders. Does she care not for the intruder in her chamber?

“Who is it?” asks the first woman who he assumes is Cecily, voice soft and melodic.

Aemond steps a few paces closer, a frown pulling down his lips.

“You smell of flame and ash, stranger,” says the first woman. Holding the other’s hand tight, she turns. Aemond catches sight of her other hand, now tracing over the embroidered patterns on her dress.

It is a fair reading of his smell, perhaps he ought to have bathed between the dragonpit and here.

“Cecily,” murmurs the second woman, confirming Aemond’s suspicions. “It is him.”

Cecily has turned, and for a moment Aemond cannot understand why she has been kept from him. As he was so heavily promised, she is comely and delicate as they come, a rose made woman. The moment of ignorance passes, and Aemond sees. He sees that she does not.

Though she faces him, Cecily’s eyes look past him– they do not look at all. His betrothed is blind.

Aemond suddenly feels the victim of a cruel folly.

“Him,” Cecily echoes, hand stilling against her dress. A small smile spreads on her lips, and Aemond thinks that no amount of good looks or pretty smiles can make up for the humiliation he has been afforded in their betrothal. “A stranger smelling of smoke and fire, who makes my companion’s voice quiver. I can draw no conclusion but my betrothed.”

Aemond’s eye flickers to the other lady, who looks petrified by his presence whereas Cecily does not seem particularly moved by it. “You’ll forgive my intrusion,” he says after a moment too long. It is rare he finds himself lost for words.

“I may,” she said, pulling the other woman closer. “Flora, help me.”

The other girl, Flora, carefully takes hold of Cecily’s arm, leading her forward with as much confidence as Aemond supposes she can muster.

“I cannot say I expected to meet you like this, my prince,” Cecily says. As she draws nearer, Aemond can see the greyish film over her irises. If he had not known it the moment she faced him, he would see it in her eyes now. “Without an appropriate chaperone. My dear cousin is responsible and will ensure there is no impropriety between us, though.”

Aemond looks to Flora, another Tyrell if Cecily’s words and the roses on her dress are to be believed. Could it not have been her? She is pretty enough, he cares not that she is a mere cousin to the heir. It would be less of a humiliation than being paired with an invalid simply because his own vision is halved.

Cecily and Flora curtsey to him, and he does not hide his displeasure.

“I had no improper intentions, Lady Cecily,” he says, voice clipped. “I only meant to look upon my betrothed before she approaches me at the altar. Our families mean to keep us apart, and I wished to see why.”

Cecily’s smile is still playing at her lips. It would look smug on anyone else, but she manages only to look coy and gentle. “I can imagine you’ve reached a conclusion?”

“Mmm,” hums Aemond, thankful she cannot see his scowl. If Flora tells her of it later, so be it. “Several.”

“‘Tis not a birth defect,” she says after a moment. “If that is your worry.”

Aemond feels his jaw tense, his eye turning to the ground so he is not forced to look at her eyes any longer. He doesn’t know how to articulate what his worry is. He only knows he hates it, and he is trying his hardest not to hate her. It is not working.

Without another word, Aemond turns and leaves the room, not caring that Flora can see the upset rush in his hurried footsteps.

As he goes, he hears Cecily say to her companion, “He has gone? Did he look upset?”

He does not care to hear Flora’s answer.

part ii