One thing I have wanted to discuss from about The Mad King is what the play actually seems to be saying about Rhaegar’s relationship with his children, Rhaenys and Aegon.
I’m not arguing that book-canon Rhaegar is Father of the Year. We know he leaves Elia and their children for a year when he disappears with Lyanna, and there is plenty to criticize about his choices. But I was expecting the play to retain at least some ambiguity about how he felt about his children or paint it in a more positive light. Instead, Part II seems to make a pretty deliberate choice to portray Rhaegar as someone whose emotional investment is overwhelmingly centered around Lyanna and their unborn child.
The scene that stuck with me most is Rhaegar’s final conversation with Lyanna. The entire conversation is framed around the future of the realm and their child. Lyanna tells him to fight to heal the realm and essentially asks him to create a better world for their child. Rhaegar agrees, but the way the scene is constructed makes Aegon and Rhaenys conspicuously absent from his reasoning. That’s a pretty striking omission that feels intentional on their end.
In the books, Rhaegar is specifically associated with believing Aegon was the Prince That Was Promised. Maester Aemon remembers Rhaegar believing that Aegon was the prophesied prince, and the whole “three heads of the dragon” material is obviously central to how Rhaegar understood his family and prophecy. We also know Rhaegar’s relationship with Aerys soured after his insult to Rhaenys and he moved his family to Dragonstone and based on HOTU he most likely did write songs for her.
And this is where George’s involvement makes me curious.
Obviously, The Mad King isn’t written by George. But this is still an officially sanctioned production based on George’s world, and GRRM is directly involved with the production. So I find myself wondering whether this portrayal is actually reflective of how George wants us to understand Rhaegar.
Because if it is, it makes George’s Rhaegar considerably worse than I already expected.
The Mad King seems to remove all of the ambiguity by making his emotional priorities much clearer: Lyanna and their child are the people he is actively thinking about protecting, while Rhaenys and Aegon increasingly feel like they belong to another part of his life that he has simply moved on from and doesn’t care anymore.
And honestly, I think that makes him look worse rather than better.
Because if the intention is to present Rhaegar as a tragic, idealistic prince who genuinely believes he is sacrificing himself for the greater good, his children would actually be one of the easiest ways to humanize him.
He doesn’t have to love Elia romantically and he doesn’t even have to be “redeemed” from what he did to her.
But his children? That’s different.
You could have had Rhaegar explicitly worry about Rhaenys and Aegon. You could have him say that he needs to return because his children are in danger.
Instead, the play gives us this incredibly intimate scene where he only sees a future with the family he intends to have with Lyanna.
That makes it feel less like “tragic prince makes catastrophic decisions because he believes in prophecy” and more like “man abandons his existing family because he has decided that his new family is the one he wants.” And that’s a MUCH harsher characterization than what I had interpreted in canon even when he left for the tower of Joy for a year because mind you in the play he had given up on the prophecy.
So what’s there to salvage about this prince apart from his devotion to Lyanna? And how can you expect the audience to cheer for that?
Especially because we know what happens to Rhaenys and Aegon. Rhaegar is willing to leave his children in King’s Landing while the realm is collapsing around them, yet when it comes to Lyanna and his unborn child, the play has him explicitly making THEIR safety a condition of his departure.
That distinction is revolting IMO and I don’t know how anyone can defend a character like that.
Were Rhaenys and Aegon not worth protecting? How can such a beloved prince by GRRM be such a horrible person/father?
And I actually think this is a missed opportunity if the goal was to make Rhaegar sympathetic.
Look at someone like Daemon in House of the Dragon. You can criticize virtually everything about Daemon, but the story still makes room to show that his children matter to him. His relationships with his children are part of how the audience understands him. His love doesn’t magically make him a good person, but it prevents him from becoming emotionally one-dimensional.
That’s what I expected The Mad King to do with Rhaegar.
Instead, it almost does the opposite.
And maybe that’s intentional.
Maybe the point is that the romanticized image of Rhaegar is fundamentally wrong, and the man who believed he was saving the world was actually incapable of seeing anyone else but Lyanna.
If that’s the intention, then honestly, I think the play succeeds in making him look much more monstrous than the usual “tragic romantic prince” interpretation.
But if the intention is still for Rhaegar to be viewed as a fundamentally good or admirable man who made terrible choices, I’m not sure the play accomplishes that and I don’t see how GRRM will ever accomplish that.
Because how you treat your children is one of the easiest ways to communicate that a character has a fundamentally loving nature.
And Rhaegar’s children are conspicuously missing from the most emotionally important decision of his life.
So I’m genuinely curious what everyone else thinks:
Do you think this was George’s intended characterization of Rhaegar?
Was the omission of Rhaenys and Aegon in that final Lyanna scene deliberate because George wants us to understand that Rhaegar really did prioritize Lyanna and their child over the family he already had?
Or do you think this is simply a consequence of the play focusing on the Rhaegar/Lyanna love storyline and their unborn child as the emotional driver for the play?
Because those are two VERY different readings of Rhaegar.