#jezebel

The Price of Gilded Cages: The Jezebelification of Katherine Howard, Rhaenyra Targaryen, and Alicent Hightower.

The parallel between Queen Katherine Howard, Princess Rhaenyra Targaryen, and Queen Alicent Hightower is a stark study in how patriarchal societies transform young victims of systemic exploitation into narrative villains. Across history and fiction, these figures are subjected to a profound "jezebelification" or character flattening that reduces their complex realities into a singular, moralizing trope: the manipulative woman who engineered her own ruin. By stripping away historical bias and narrative propaganda, it becomes clear that Katherine, Rhaenyra, and Alicent are fundamentally cut from the same cloth. They are young girls trapped in gilded cages, surrounded by immense political power but possessed of zero personal autonomy, forced to navigate a world where their bodies are public property and their survival depends on men who view them only as objects of desire or political currency.

The foundation of their shared tragedy lies in the sickening reality of childhood sexual abuse, masked as education, affection, or duty by the trusted adult men in their lives. In Tudor England, an impoverished, neglected Katherine Howard was only around twelve or thirteen years old when her music tutor, Henry Manox, used his position of authority to systematically groom and molest her. Manox frequented the young women's dormitory, repeatedly groping Katherine in her bed and engaging in illicit sexual touching a disgusting violation that Katherine later testified she only submitted to because she mistakenly believed he would leave her alone afterward. This stomach-turning dynamic is mirrored with horrific precision in how the men of Westeros view and treat Rhaenyra Targaryen. Rhaenyra’s body is treated with the exact same casual, nasty objectification: her own uncle, Daemon Targaryen, views her childhood innocence not as something to protect, but as a political canvas to defile. When Daemon takes her to a King's Landing pleasure house, strips her down, and exposes her to a hyper-sexualized underbelly, he is enacting the exact same grotesque betrayal as Manox using a position of absolute trust and familial authority to fundamentally compromise a child's bodily autonomy for personal gratification.

Furthermore, Katherine, Rhaenyra, and Alicent existed in high places of power where they were treated as supreme royal prizes, yet they possessed less actual agency than the lowest-ranking men at court. Katherine was used as a literal biological token by her uncle, the Duke of Norfolk, who thrust her into the path of a volatile, aging King Henry VIII to secure political leverage for the Catholic faction: she had no legal or social mechanism to refuse the supreme monarch of England. Similarly, though Rhaenyra was named Heir to the Iron Throne, her status did not grant her freedom: it merely turned her into the ultimate political commodity, paraded before the lords of the realm like a prize mare. Alicent’s situation was no different: she was traded to the crown to secure Hightower blood on the throne, forced into a marriage defined by profound power imbalances where she had to pick and tear at her cuticles until they bled just to cope with the suffocating, silent anxiety of her reality.

This illusion of power was further complicated by a crushing double standard regarding reproductive duty and chastity, where a young woman's worth was entirely reduced to the state of her body. Henry VIII famously objectified Katherine as his "rose without a thorn," demanding she embody a pristine, submissive fantasy designed to revive his fading youth. When Rhaenyra and Alicent reached marriageable age, the entire political stability of the Seven Kingdoms was similarly pinned to their virtues, but in completely inverted ways. Rhaenyra was expected to remain pure while the men around her operated with total sexual impunity. Alicent, conversely, was forced to become the epitome of the quiet, submissive, and pious maiden sacrificing her youth to silently disassociate and stare blankly at the ceiling with hollow eyes while fulfilling her "sacred obligation" to breed male heirs for an aging, rotting sovereign. Whether they sought pleasure or merely submitted to duty, their bodies were never truly their own: they belonged to the state and to the lineage.

The true horror of their interconnected narratives is exposed in the way men disgustingy use them for sex, hiding behind a mask of moral righteousness while enacting the ultimate "Jezebel" trap. This is embodied entirely by Ser Criston Cole, who hypocritically exploits both Rhaenyra and Alicent for his own desires while destroying their safety. Criston willingly takes Rhaenyra's maidenhood, but the moment she refuses to abandon her crown to run away and soothe his wounded pride, he turns on her with bitter, lifelong vitriol, painting her as a reckless whore. Years later, he climbs into Alicent's bed under the guise of being her loyal, pious protector. While he actively uses Alicent for physical solace, his dereliction of duty allows assassins to infiltrate the Red Keep and murder her grandson yet it is Alicent who bears the crushing weight of shame and narrative vilification. Like Katherine Howard, whose survival tactics with Thomas Culpeper were twisted into treasonous manipulation, both show women are systematically used by men who prioritize their own urges, only for the court and the realm to rewrite these young women into calculating, sexual predators who brought about their own ruin.

The historical and narrative erasure of their trauma is where the process of vilification becomes complete, shifting the blame of structural abuse entirely onto the victims. For centuries, traditional history books and popular media flattened Katherine Howard into a frivolous, boy-crazy nymphomaniac who essentially engineered her own execution through sheer stupidity, rather than a child victim of a predatory court. This exact distortion plays out in modern fandom discourse surrounding House of the Dragon. Viewers frequently misread Rhaenyra’s early arcs, either celebrating her grooming by Daemon as an empowering "girlboss" romance or vilifying her as a reckless hypocrite. Simultaneously, the audience often flattens Alicent into a venomous, bitter stepmother, completely erasing her quiet, self-harming nervous tics, her deep disassociation, and the overwhelming systemic pressure that stripped both Westerosi women of their agency.

Ultimately, all three women were crushed by the very systems that elevated them, their lives cut short or permanently marred by a legacy of state-sanctioned violence and character assassination. Katherine’s story ended on the executioner’s block at just eighteen years old, her name dragged through the mud as a warning to unchaste women everywhere. Rhaenyra and Alicent’s trajectories mirror this descent into ruin: the weaponization of their youth and their bodies eventually fractured their families, leading to a devastating civil war that consumed them both.

The patriarchy could not tolerate a woman who existed outside its rigid, impossible definitions of womanhood, and so it destroyed them all rewriting their histories to ensure they were remembered not as victims of a brutal political meat-grinder, but as the architects of their own tragedy. To look at Katherine Howard, young Rhaenyra Targaryen, and young Alicent Hightower is to see the exact same reflection across three different mirrors one forged in historical reality and the others in high fantasy. They are bound by the shared tragedy of being young women whose youth was stolen by predatory men, whose power was an illusion, and whose survival instincts were rewritten by history as inherent vice. By recognizing how all three figures are systematically flattened, we expose the persistent cultural habit of blaming young women for the predatory environments that consume them. They are one and the same because they represent the ultimate, tragic truth: in a patriarchal system, a young woman will be condemned whether she fights the rules, breaks the rules, or follows them to the letter.

Sources and Historical References:

Letters and Papers, Foreign and Domestic, Henry VIII. (Primary state papers detailing the 1541 examinations of Katherine Howard, Henry Manox, and Francis Dereham regarding the Dowager Duchess of Norfolk's household).