Listen.

It's always really interesting seeing someone say they don’t like Otto and Alicent inserting themselves into the royal family and "stealing" power from the Targaryens. That's literally why I love them.

TB and their selective feminism.

What really angers people about Criston and Alicent is that Criston perceives himself as a protector to Alicent FROM Rhaenyra. A lot of people take what he said about Rhaenyra being a spider as him still being angry and rejected, and given the lack of media literacy among this fandom, I get that.

But Criston said that in response to Aemond shaming Alicent, and implying that she is a liar and a hypocrite. Aemond accused Alicent of having love for the enemy, and indirectly he is calling her a traitor. Criston was not thinking of Rhaenyra nor did he care to mention her until he perceived Aemond's comments as threatening Alicent due to her feelings toward Rhaenyra. He does not mention in depth what happened to him, but he does mention Alicent and Rhaenyra's relationship and basically explains to Ameond how Alicent was manipulated by Rhaenyra and lied to.

And that is true. Rhaenyra did lie to Alicent years ago which resulted in her father being dismissed and her being utterly alone at court. Rhaenyra manipulated Viserys into not really giving a fuck about Aemodn losing an eye all those years ago, and that negatively impacted Alicent.

Criston doesn't really care nor think of Rhaenyra in regards to himself -- he thinks of her as a danger and threat to Rhaenyra.

And because so many people dont really care for Alicent outside of Rhaenyra, this idea that someone is protecting Alicent and her honor from Rhaenyra infuriates them because in their eyes, Alicent exists for Rhaenyra. She exists to take abuse, manipulation, and shame from Rhaenyra.

Keep in mind, both Criston and Alicent faced sexual violence at the hands of Targaryen royalty, and that is something no one else can understand. That unique experience to them dictates their connection and how they act with one another. Criston was never actually able to seek justice for what happened to him, but he doesn't want Alicent to be soiled.

Alicent and Criston, through victims of trauma and abuse, and just being subservient to Targaryens, are always going to have a deeper, more meaningful and trauma-related bond than Rhaenyra and Alicent and I think that pisses people off.

the thing is. the THING is. no one. absolutely NO ONE thought Aegon would be able to rule. he was this piece of clay to be moulded by Otto, Alicent, and the small council. the only thing those people wanted from him was his uselessness. and the FUNNY thing is. he FAILED at being useless.

Aegon, the family failure, failed at failing.

Guinevere and Lancelot's Sex

(an overview so we can be on the same page when discussing Alicent and Criston's sex)

I've been looking into the history of courtly love for quite a while now, trying to figure out where the "chaste" bit comes from. And honestly I'm still not sure. (My best theory at the moment is that it was Elizabeth I's contribution?) Histories consistently trace courtly love to The Knight of the Cart, the OG Guinevere and Lancelot story — a story where they do have sex.

They are the poster children. And they have always been unambiguously sexual.

The Knight of the Cart

Queen Guinevere and Lancelot have sex about halfway through The Knight of the Cart. At this point, Lancelot has traveled for a week and braved all sorts of hurdles to come rescue Guinevere, who's being held captive. He wants to have sex with her, but he does not expect sex from her — he doesn't think he's owed anything. This is expressed in this line:

"It would take more than these bars to keep me out. Nothing but your command could thwart my power to come to you. If you will but grant me your permission, the way will open before me. But if it is not your pleasure, then the way is so obstructed that I could not possibly pass through."

A reminder that The Knight of the Cart was commissioned by a woman, Marie de Champagne. This is a female fantasy — and specifically, the fantasy of a noblewoman who's in a political marriage where sex is presumbably expected and owed.

So Guinevere says yes, he climbs through her window, and they have sex. It's written "fade to black" style, but the author does tell us they had a great time.

Their sport is so agreeable and sweet, as they kiss and fondle each other, that in truth such a marvellous joy comes over them as was never heard or known. But their joy will not be revealed by me, for in a story, it has no place. Yet, the most choice and delightful satisfaction was precisely that of which our story must not speak.

I've seen too much discourse where Criston wanting to worship Alicent and have sex with her are framed as if they're in opposition or mutually incompatible. Which just — no. Lancelot kneels to Guinevere in an explicitly religious way, both when he enters the room to have sex with her, and before he leaves.

then he comes to the bed of the Queen, whom he adores and before whom he kneels, holding her more dear than the relic of any saint. .... When he leaves the room, he bows and acts precisely as if he were before a shrine; then he goes with a heavy heart, and reaches his lodgings without being recognised by any one.

When I was younger and more abled, I was so fucking on board with the fantasy genre’s subversion of traditional femininity. We weren’t just fainting maidens locked up in towers; we could do anything men could do, be as strong or as physical or as violent. I got into western martial arts and learned to fight with a rapier, fell in love with the longsword.

But since I’ve gotten too disabled to fight anymore, I… find myself coming back to that maiden in a tower. It’s that funny thing, where subverting femininity is powerful for the people who have always been forced into it… but for the people who have always been excluded, the powerful thing can be embracing it.

As I’m disabled, as I say to groups of friends, “I can’t walk that far,” as I’m in too much pain to keep partying, I find myself worrying: I’m boring, too quiet, too stationary, irrelevant. The message sent to the disabled is: You’re out of the narrative, you’re secondary, you’re a burden.

The remarkable thing about the maiden in her tower is not her immobility; it’s common for disabled people to be abandoned, set adrift, waiting at bus stops or watching out the windows, forgotten in institutions or stranded in our houses. The remarkable thing is that she’s like a beacon, turning her tower into a lighthouse; people want to come to her, she’s important, she inspires through her appearance and words and craftwork.  In medieval romances she gives gifts, write letters, sends messengers, and summons lovers; she plays chess, commissions ballads, composes music, commands knights. She is her household’s moral centre in a castle under siege. She is a castle unto herself, and the integrity of her body matters.

That can be so revolutionary to those of us stuck in our towers who fall prey to thinking: Nobody would want to visit; nobody would want to listen; nobody would want to stay.

"what do i do now that i finished the hunger games books?"

if i may suggest:

- listen to the katniss chronicles by tkc productions.

- read peeta's games trilogy by igsygrace on ao3.

- check out @everlarkficquestions's and @thgfanfictionlibrary's masterlists and have a blast reading fics.

- watch the film adaptations and lustily point out the discrepancies from the books.

- search everlark + edit on twitter. here's a thread of my favorites.

- search the hunger games + art on tumblr.

- make hunger games/everlark boards on pinterest.

- curate hyper-specific hunger games playlists.

- get crazy wild with headcanons (and write them down if you want).

- doodle everlark or any characters doing the most random things.

- stare at a wall.

rewatching ep5 we light the way and the way the wedding vows are being said over this scene of criston attempting suicide and alicent saving him...the real union of the night being between them. in this episode they're finally disillusioned of the roles they've been playing. they realise they'd been lied to and used. and at the end of the episode, they are just raw mirrors of shame and naivety staring back at each other asking for help. one flesh, whatever may come

TiL (click to go to the thread, which probably has more interesting tidbits I missed).

Bonus:

I don't know about y'all but I find it very funny and a bit satisfying that despite all the anti-feminism and conservatism and pro-patriarchy accusations Alicent was thrown, so many people of color and queer folks (and other definitely radically left-leaning people) still watched hotd and rallied behind her and flock together to defend her (despite being accused of being pro-conservatism ourselves in doing so).

And I wonder... Why is that? What nerve did Alicent touch that make us so protective of her, of her story and point of view?