Aegon arrives from Dragonstone with three dragons and demands that the kings of Westeros submit. When several refuse, he burns their castles and armies until they surrender. And that, at least according to the existing lore, is pretty much that.
For decades, we smallfolk have been told that goodness is naïve, that moral grayness is sophistication, and cynicism is cleverness. Turns out, we do not want it. Most of us can only take an endless string of villains, liars, and normalized nastiness for so long. Our battered nervous systems want a hero to root for who would not lie to us or betray us.
In the world of , you can't move for Aegons. In Game of Thrones, a much-anticipated plot twist revealed Jon Snow wasn't the bastard son of Eddard Stark. In fact, he was secretly Aegon Targaryen, son of the Mad King Rhaegar and Lyanna Stark. Then, House of the Dragon introduced King Aegon II, the son of King Jaehaerys and Queen Alicent. Finally, A Knight of the Seven Kingdoms revealed its bald squire, Egg, was actually Aegon Targaryen, the future King Aegon V.
At long last, the secret behind Egg has been revealed. A Knight of the Seven Kingdoms is now half over, but now viewers have learned the squire's true identity, something readers of the original Tales of Dunk and Egg books have known from the start. But what does this new secret mean for the future of the show - and the future of Westeros itself? The answer is a lot more complicated than you may think.
We don't know much about Dunk's beginnings, but to be fair, he didn't know much either. He grew up an orphan in Flea Bottom, the slum near King's Landing. He had no idea who his parents were, but figured he was an orphan and probably a bastard. (Some fans suggest he could be related to Brienne of Tarth, since he was tall just like her, but that's still unconfirmed.) He made a life by scavenging all kinds of meat for establishments that made "bowls of brown," the go-to food of Flea Bottom.
"What was so beautifully done about House of the Dragon is this epic scale at which the story is told. So to have this big booming orchestral score was very important," Kingdoms showrunner Ira Parker says during a roundtable interview. However, for his series, "we realized early on that we're telling a small story here - a small story about a simple person who has smaller ambitions. And so, certainly our sound had to suit that."
When a franchise goes big, you have two choices for what to do next. You can zoom out and reveal the wider context of the original story, or you can zoom in and spotlight a story that has lower stakes. This latter approach is high-risk, high-reward, but it could serve to completely redefine the entire property. Take, for example, the DC Universe.
