Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
✓ Live Streaming✓ Interactive Chat✓ Private Shows✓ HD Quality✓ Free Actions
Free to watch • No registration required • HD streaming
I slithered here from Eden just to sit outside your door
- Hozier, From Eden
The true heart is a gift of childhood. For a few wonder-filled years, we each have innocent eyes to experience the world's beauty in a simple way.
- The Dragon Prince: The Mystery of Aaravos, Season 7 Episode 4: Unfinished Business
(I don't know what else to call it, that is literally the caption for the video T_T)
TDP finally posted the clip from s6e1 where Aaravos sobs into the water, so let's analyze it!!
The first thing I want to point out is the reflection symbolism and ripples symbolism. In Ripples (the short story), we get the following line:
In other words, ripples ruin the reflection of the stars. (Tangentially related, but we have also seen many occasions of Aaravos himself ruining reflections, which I've written about here). However, in this scene, we first have view of the water, and the tears hitting the water. Aaravos then appears on the screen, first as a reflection that is blurred by the ripples created by his tears. The camera only pans up to the reflection's caster later in the scene.
AKA, the ripples are CREATING the reflection of a star.
I also love the way that he looks at his reflection, and then looks away towards the stars when he finds that he's not glowing. It appears to me to be a mix of guilt and anguish. The fact that he can't bear to look at his own reflection and looks to the stars instead is... interesting.
Another thing that I think is worth pointing out in this clip is the Rayllum parallels with Aaravos and the Merciful One. This scene is so similar to the scene in The Midnight Desert when Rayla was self deprecating and looking at the water, and Callum was telling her to shut up.
Rayla and Aaravos are both crying into their reflections, and Callum and The Merciful One are trying to pull them out of it. We don't have much info on what is going on in the new scene, but to me it seems to be around the time of the formation of the Sea of Castout/when Aaravos lost his powers. So, in this case, Rayla and Aaravos are both learning that they are "ghosted" or "cast out"--pretty much, exiled from their community. Callum and The Merciful One are both shocking them out of the tears. (I do think Callum was more effective than The Merciful One's weird cryptic words, though ;)).
I'm so excited for this season! The imagery and visual motifs are already excellent, can't wait to see what else season 6 brings!!
I talked about this before but the serene, calm nature of “Mima’s” face as she’s pursuing the real Mima contrasted with Rumi in a dead fucking sprint, gasping and panting like an animal, is TERRIFYING.
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
✓ Live Streaming✓ Interactive Chat✓ Private Shows✓ HD Quality✓ Free Actions
Free to watch • No registration required • HD streaming
Because S7 in particular gave me even more Ezran feelings than usual, and I thought "What's more fun than methodically breaking them down and sorting them into categories?" so here we are. We'll be looking at a lot (but not all) of Ezran's s7 arc as well as some holdovers from previous seasons. There are also some motifs to keep in mind, such as the:
Phoenix motif
Need motif (+ him and Callum later)
Reflection Motif
that we will dive into more later once they're more relevant / we can put the pieces in place. For now, a little background meta key up because S7 breaks Ezran down and then systematically builds him back up while also, in some ways, doing a complete overhaul.
So let's talk about it?
Pillars of Identity: Who is Ezran?
TDP is a series obsessed with a lot of things, but if I'd have to wager what the second core idea of the series is beyond the Cycle of Violence, I'd probably put in on a theme of Identity, specifically questions such as, "how do I, as a person, exist within the Cycle (breaking it, perpetuating it, both)?" and "who has, or is, my grief turning me into?" as they are deeply interrelated. To answer those questions, that requires establishing who a character is in 'normal life,' or outside of grief and the cycle (ie. trauma) and who they are within it.
With that in mind, I think Ezran has about five approximate pillars for his identity, in roughly this order:
Harrow's son
The king
Callum's brother
Zym's friend
Rayla's friend
I don't think that other characters pillars would be that different (Rayla's primary would also likely be her three duty bound parents) as it does make sense; most children's primary influence in life, especially as they grow, start with their parents as role models even if they may eventually separate and take an opposite road (love you Soren). Where Ezran differs, I think, is that while I don't know if Rayla would consciously conceptualize herself as her parents' daughter as her primary pillar, I do think that Ezran — especially Ezran in arc 2 — is always orienting himself around "I am Harrow's son" (for better or for worse in terms of what that means).
This is also why I put Ezran's identity as king as his second pillar. In his childhood / pre-s3, I think his second pillar would've been his identity as Callum's (little) brother. However, we see him place returning to his kingdom above helping Callum (brother) and Rayla (friend) returning Zym (another friend) to Xadia. The loss of his father strips away the relative safety of body and mind that being a prince comparatively gave him, fundamentally altering his internalized and externalized sense(s) of responsibility and his choices accordingly. It's the loss of his father and the subsequent grief, yes, which Callum also experiences, but uniquely the mantle of the throne as well, which is what he highlights in 7x02:
This all started the day that assassin came to Katolis and killed him. Our king. Our father. I never asked for this. I wasn't ready to be a king. I'm just a kid. That day changed me forever.
So let's talk about being the king. Let's talk about
The Crown
Ezran's crown is one of the few objects in the series to have an episode titled after it (3x02) and the only one I can remember that continues to be a symbol we consistently come back to throughout (i.e. unlike 1x07's "The Dagger and the Wolf"). Despite returning to Katolis to be king and sitting on the throne itself throughout the episode, Ezran struggles with the crown. It is, to him, in some manner different than the throne, despite ostensibly representing the same thing. He has, effectively, already made the choice to be king, yet persists in his doubt and hesitation as he struggles to learn the balance.
Opeli, however, contributes to that distinction, noting specifically that "the crown is a heavy burden to bear" and that "no one blames you for being a child". Ezran's choice to fully commit to, and his acquiring of the kingship fully, is made synonymous with him putting on his father's crown for the first time. In a lot of ways, Ezran returning home to Katolis was him realizing he can't run away from growing up (2x09) in his own words, and therefore that putting on the crown is him committing to becoming someone new: this is Grown Up Ezran, or Growing Up Ezran, actively. He is, from this day on by choice, no longer just a child, but also — more so — a king.
AARAVOS: The whining child king, in over his head, and he knows it. (4x04)
DOMINA: Who is this child?
ZUBEIA: He is a king! (5x01)
KARIM: I've never negotiated with a child before.
CORVUS: He is a king. (6x07)
This also folds into how Ezran conceptualizes his father. Again, as children often do, he looks to his father for guidance with the things that Ezran is struggling to handle per his sense of responsiblity (teaching Zym how to fly in season 2): "I just wish Dad was here. He'd know what to do, you know?"
When Ezran returns home in season three, he does so with the direct consequence of his father's actions on his shoulders and wrapped around his brow, and with his letter in hand, and these changes likewise reflect a more nuanced understanding of his father:
All of you knew King Harrow as a great king. He was a warrior, a leader, and a champion. But I knew him as my Dad, who loved me and my brother and our mom, and sometimes told really bad jokes. [...] I didn't see everything he had to do as king, but I do know my father had to make some very hard decisions... I haven't been through the things that made my father the king he was. So I've decided that I don't have to be the king my father was. My father made choices to keep fighting battles that started hundreds of years before he was born. To punish children for crimes their parents committed. I don't want to be that kind of king.
This is, of course, a speech made in the context of actively rejecting war and of pardoning those who would otherwise be punished, both things that Harrow did engage in directly and deeply regretted in the letter Ezran currently holds. Ezran then walks the balance of simultaneously rejecting who his father was, and honouring who his father was and who he wanted to be. This is perhaps best exemplified in season 3 of Ezran, two episodes after rejecting his father's 'way', having a mirrored path across the courtyard set to "Last Sunset" in one of their most overt parallels, prepared to give up his life and freedom in hopes others will make better choices with the (hopefully) renewed agency they now have.
By the time we get to season 4, Ezran has changed greatly. He's more confident as king, the team's resident diplomat and negotiator, and a lot more active in general, though not without plenty of room to grow. 4x03 offers a cold dose of reality that the road to the future he wants is going to be harder to walk, but still confident that we can get there because, "We all want peace, and we all want love."
He also has a more complicated yet positive view of his father as king and of the world at large. He best expresses this, perhaps, the first time he removes his crown (which is a permanent part of his identity, and of his character design):
I am King Ezran of Katolis. As my gift [of sacrifice], I offer you my crown. It has no jewels and it isn't made of precious metal. It's made from the steel of my father's sword. My father was a strong king, and I wanted to carry that strength with me. But he also taught me that strength isn't always about weapons and war. This crown reminds me of that lesson.
Rather than just seeing Harrow as something to not be, Ezran has come around to wanting to carry his father closely with him. He's learned that "peace demands just as much strength as war" and also decided to embody Harrow's closing thoughts as a king: "I now believe that true strength is found in vulnerability, in forgiveness, in love." A dual strength for a dual king, symbolized by Ezran taking his father's sword and reshaping it into something new.
Ezran is a King of Love as Strength. He is king because he's literally Harrow's son and heir, but also emotionally — narratively — Harrow's son in terms of breaking the cycle and choosing love (similarly how Janai in S7 becomes known as a queen of mercy just like her previous royal role model, Aditi). Harrow's son by fact, and Harrow's son by choice in some ways:
EZRAN: History doesn't have to be a narrative of strength. Not if we don't want it to be. It can be a narrative of love.
KARIM: These are childish dreams.
EZRAN: Not dreams, choices. I am a king. And as a king, I choose love over strength.
So Ezran being king, to him, is synonymous with choosing love as strength. With making choices. With being Harrow's son (positive). He forgives Zubeia and Avizandum because of Zym. He forgives Rayla because "I'm sure she doesn't mean to make [Callum] feel that way". He provides an anchor, a pillar, for other people to build their identity around ("Don't you remember who you are?") as a reminder and a lever (hi Soren). He can honour and strive to be better than his father simultaneously. He can hold pain and love in his heart at the same time.
Until he can't.
King of what? King of ashes? [Of nothing?]
In seasons 4 and 5, we see Ezran remove his crown. Both are about sacrifices: he is prepared to offer his crown to Rex Igneous and to Finnegrin in order to help with their mission, asserting its sentimental value and importance to him: "You must bring Rex Igneous a worthy gift." / "It's not worthless. It's really important to me."
In season 7, he removes it just once. This is in admission to Callum that he "never asked for this". He was given the option of being king or not being king, but neither would've necessarily made him happy, and he made the best choice with the options he had... Options that he never asked for in the first place. The crown being a reminder to choose strength over love? He never asked to have to learn that lesson, either. It was a burden placed on him in making the best out of a bad situation, which is — unfortunately — an unavoidable part of life. But it can still be, or feel, unfair to him.
I think we see this aspect of Ezran struggling with what he wanted vs what was forced upon him in how he (and others) in 7x02 treat his high ranking position. We've seen first hand in 5x01 that Callum would overrule something like Rayla — and Runaan by extension — being arrested, but Ezran has the final say here as king. However, he does not directly highlight his own ranking. Merely, he reminds his brother of Callum's position:
Callum. High Mage. We need you at this council meeting.
And Rayla ("you're not my king, but you are my friend") reminds Ezran of his, because it is Ezran's status as king — the power, the trauma — that is driving them apart:
So, King Ezran. How determined are you to stop me?
Being king gives Ezran control over the people around him — Opeli, Soren, Corvus, Aanya, Callum — and over what happens. It gives him control. A sense of safety. And while these are understandable desires, they swing the wrong way in his anger.
So let's talk about who they swing towards!
Targets (Sol Regem, Runaan, Callum)
Ezran's anger has three direct targets in season 7, and as such, it's easy to see the way each stacks on top of the other.
The initial one is Sol Regem ("We need to find Sol Regem and destroy him"). This leads to finding an already dead dragon, which means in addition to having no one to blame, it means Ezran has no way to know or understand why Sol Regem attacked Katolis (beyond a hatred of humans). The destruction of the castle feels like losing his family all over again, in some ways, in addition to his childhood home.
Then lo and behold, the man responsible for killing his father walks right into it.
You! This is all your fault! Everything changed the day you came. You killed my father!
I think this line shows a few things. As king, Ezran was supposed to protect and be there for Katolis (2x09) while also working to break the cycle. That's what, by Ezran's measure, a good king would do. He's utterly failed at the former, and if he's a bad king, then he shouldn't be king. So whose fault is it that Ezran, a bad king, is on the throne? Logistically and emotionally, it's Runaan. It's not quite rational but it is reasonable for Ezran to look at every event in his life from the past two years spiralling out from his father's death, and culminating in Katolis' destruction.
However, despite Runaan becoming the next target of Ezran's anger, he's not actually the most consistent target of it throughout the season: Callum is.
After 7x02, Ezran doesn't breathe a single word of ire about Runaan for the rest of the series, even if he's still clearly angry months later in the 7x09 'epilogue'. Instead in 7x03, he's fixated on finding and dragging his brother back as punishment ("we can't let him get away with it!") for betrayal, which Ezran also takes personally and extends beyond himself: "Callum betrayed me. He betrayed all of Katolis."
The idea that a king represents his kingdom is an old one in terms of history, and considering that Runaan killed the king of Katolis, and Callum helped him escape, it's not that much of a reach. However, Ezran isn't even thinking that logically. If Ez was proposing hunting down the kingslayer and bringing him back to face justice, that'd be one thing. However, he only talks about holding Callum accountable, not even Rayla (who also betrayed him) or Runaan (the escaped prisoner).
His targets, quite literally, switched from Aanya having her arrow notched at Runaan and then to his brother, and Ezran's anger has subsequently followed.
Now, some of this is undoubtedly because of the three, Ezran is the closest to Callum. They had a childhood together and Callum was customarily always in his corner, if sometimes a bit scatterbrained/unreliable or angry. He, accordingly, expected Callum to be on his side, and barring that (stopping him from going after Rayla in the meeting) was prepared to enforce it. A lot of our emotional upset tends to come from "I expected you to understand/support me, and you don't" after all.
However, I think Ezran's emotional interplay is a bit more complicated. I think in 7x01, Ezran attaches to Callum as an extension of himself even as he self-isolates, such as sending Callum to go with Corvus "because we have to do something" in investigating Sol Regem, and for no real in-universe reason besides "Corvus offered to go, but I need to feel in control so I'm going to tell/order someone to go with him".
The other, bigger part of this is that Callum is the biggest hole in Ezran's reasoning.
EZRAN: He killed our father. Isn't that enough?
We know that part of Ezran's grief is that it forced him to be king and grow up quickly, something that Callum is adjacent to but can't relate to in the same way by virtue of not having the crown. But since the reasoning Ezran highlights is that 1) Runaan is a murderer (unlike the bulk of the people at his council table—oh wait) and 2) it's okay/right to punish him for killing their father... having his brother, who is also King Harrow's son (cue the identity pillar) disagree is a pretty big blow to it. They both loved their dad; he was their father, and they were both his sons. Callum is in the closest position imaginable to Ezran as anyone could be, emotionally, yet they have two completely different perspectives. It gives Ezran's reasoning much less ground to stand on, and he can't handle it. The fact that Callum's perspective (which was already a betrayal in its own way) then becomes action (which is what Ezran labels the betrayal), I think, is just the cherry on top.
Another thing that's worth noting, I think, is that neither Ezran or Callum are necessarily the ones who escalate things in 7x02; Aanya and Rayla are. Soren, Corvus, and the other guards are working under Ezran as his crownguard, but Aanya and Rayla are the rogue parties. Aanya isn't operating under Ezran's jurisdiction, but as his friend and ally. What this does mean, though, is that literally everyone at the Banther Lodge is on Ezran's side against Rayla and her weakened, injured father... except Callum, but as a mage, he's enough to tip the scales to take down the crownguard... and then use himself as a human shield.
One of the things about Ezran's anger and its targets in season 7 is that it does a very good job at illustrating exactly why the Cycle is so destructive to participate in, because yes, you may aim your anger at the people who 'deserve' it and are directly responsible—the acceptable, understandable Targets if you will—but you catch others in the crossfire. There is always collateral damage of people who didn't do a thing to you, whether that's the people who love them, or the people who are like them. (Insert Zubeia wanting to take revenge for the loss of her mate and child, claiming the lives of the assassins sent to take it, and then Lyrennus' pain at the loss of his child + Ethari's at the loss of his partner.) There is no clean way to kill your enemy in a manner that does no harm to anyone else (who is innocent).
Ezran's targets by proxy of wanting to deal with Sol Regem's destruction of Katolis are the dragons and Zym (more on them in a second, though, cause that deserves its own section). His targets by proxy of wanting to punish Runaan is causing deep pain to Rayla, even before she's taken any action against him, and then on a more literal sense his own brother. His targets by proxy of wanting to drag Callum back by force likely would've been Runaan, Rayla, potentially Ethari, or even Corvus or other crownguard in the fight.
Callum shielding Runaan (and Rayla by extension) force Ezran to confront this fact, at least a little. Does he value punishing Runaan (and Rayla, a girl who's saved him countless times, who was willing to lose a hand for him, who has otherwise always taken his side)—perpetuating the cycle—over his brother's life. And Ezran is angry enough that he good and truly considers it (although we could say perhaps he was waiting to see if Callum would move out of the way). But where Ezran was willing to hurt Rayla emotionally if it meant physically punishing Runaan, he is not willing to risk killing Callum to keep the assassin as a prisoner.
This is also, I think, the turning point for Aanya. She is Ezran's friend and was willing to follow his lead, and upon seeing the choice that Ezran made—sparing Callum over killing him and Runaan—she shifts gears. She and everyone else (who are deeply uncomfortable with Ezran's increasing rage, but unwilling to speak out against it) recognize that pursuing and punishing Callum will not actually making Ezran feel better. So she tries a different tactic.
EZRAN: We can't let him get away with it. Corvus, I need you to track them.
CORVUS: [Gently corrects him] King Ezran, we already know where they're going. The Silvergrove.
EZRAN: Right. And that's why I need you to track them. (7x03)
I also think Ezran taking 'being king' as such a core identity piece—Callum was Harrow's son too, but not in the way Ezran wanted/needed—lets Aanya reach him. She's also a child monarch, and reminding Ezran of this and that he and Callum can heal ("But I'll always be your brother" / "You're brothers") is something that Ezran deeply needed to hear from someone else, too.
AANYA: I know it hurts right now, Ezran. But you need to know that you and Callum are not broken. The both of you will heal one day. You're brothers. It's okay to be angry, and it's okay to be sad. But I think you should let this go, for now. You're the king of Katolis, and your people need you.
EZRAN: You're right. I need to protect them.
EZRAN: But Katolis needs me. (4x03)
However, that doesn't mean Aanya's advice, nor how Ezran pursues that protection is faultless, so next, let's talk about
Dragons as Friends and Foes
Ezran has always been the dragon boy.
Back in 2021, I wrote a more long winded post that basically boiled down to—in a show where elf, human, and dragon relations are key—it was likely that Callum was always designed to be the human who engaged the most with the culturally elven side of things (primal magic, Rayla being his lancer), and Ezran (with his ability to talk to animals) was designed to handle the dragon-human side of things. Think how we see Callum's first meeting with Rayla, an elf, while Ezran is the one who discovers Zym as a dragon egg.
Although other characters (namely Rayllum in S3, and Soren in seasons 4-6) bond with dragons as well, this remained true throughout arc 2, wherein Ezran is the closest to Zym and Zubeia, the primary negotiator with the various archdragons, going on his 'big dragon missions' (5x01-5x03), etc.
Season seven, therefore, presents an interesting departure in Ezran's view of dragons. Previously, while they should've been enemies, he always saw them as friends and allies: being the first to run to and aid Pyrrah in 2x07, trying to commune with Zubeia to wake her up in 3x08, defending Avizandum in 4x08 on behalf of Zym, etc.
Sol Regem's attack changes all of that. As Ezran states:
But doesn't a home need to be safe? [...] Our ancestors spent generations building Katolis. I don't want to waste our time if it's all going to get knocked down. [...] We have to be ready. We have to be strong enough so that they won't even think about attacking us. Before we rebuild, we have to build our defenses.
In season 4 and 5, all Ezran wanted to do was work with the dragons. To work together with Zubeia to stop Aaravos; to call upon the dragons to help stop Claudia and Viren. Now, the dragons are a 'them'. Now there's an 'us'.
This isn't necessarily a 'wrong' way to think about it, though. An archdragon did attack and devastate Katolis, seemingly — to Ezran — for no apparent reason. To want to prevent that from happening is reasonable. Yes, Ezran is friends with dragons, but most friends aren't also born with the inherent capacity to utterly destroy your life as a built in feature.
At the same time, this new 'us vs them' mindset is challenged a few times in season 7. Although Ezran's assurances to Zym that "we're only building such powerful weapons so that we never have to use them" will not work out without consequences in arc 3, I'm sure, thus far we only see Ezran use them on another enemy he's willing to be increasingly violent with: Aaravos.
In 7x07, the Startouch elf offers up a double serving of manipulation — the bigger one being to join him and that he's humanity's ally, which Ezran steadfastly rejects, and the smaller one beneath regarding the Nova Blade (+ Callum), which Ezran 100% plays into. Both of these push Ezran further as a character.
The first avenue that Ezran rejects leads him to claim that:
I have allies already. The elves and dragons, fellow victims of your evil.
Even if the only elf he's currently working with is a recent addition is Terry, forcing Rayla and Runaan to go on the run in 7x02, and his draconic ally in Zym is deeply worried about Ezran and Aanya's project. But it shows that despite his coldness towards previous allies, Ezran still holds unity close and refuses to relinquish it entirely as an ideal.
Secondly, we have Ezran's choice to use the Nova Blade. This is both a departure and in line with his thoughts in 5x06:
CALLUM: We borrow this Nova Blade, wait for Aaravos to get out, and then just stab-stab, buh-bye bad guy.
EZRAN: Wait, slow down. Shouldn't that be the last resort? If we can stop Aaravos from getting out at all, we can solve this without any violence.
On the one hand, Ezran in 7x08/09 is just following through with what he said here. If Aaravos was still trapped, they didn't need to resort to violence. Now that he's out, violence is accordingly on the table, just as Ezran said it would be. However, I think it still feels like a departure in some ways because of Ezran's repeated emphasis on strength and love over violence, and his choice (4x08, 5x06) to melt his father's sword down into a crown... only to now acquire a sword that isn't made for defense whatsoever, but for the express purpose of killing.
That said, more on the Nova Blade in a second.
For now, I want to return to the archdragons, and just do a little season track:
7x01: Ezran finds out an archdragon / former king of the dragons destroyed Katolis. Furious, he wants to destroy Sol Regem in turn, but cannot as the great dragon is already dead.
7x02: Ezran takes out his anger on Runaan, Zubeia's servant assassin.
7x03-7x05: Ezran goes with Aanya to learn how to build weapons that can stand a chance against dragons / archdragons, in spite of Zym's misgivings.
7x07: Despite Callum giving Ezran the mission to go retrieve Zubeia, Ez delegates it to his crownguard + Terry, choosing to remain in Katolis and converse with Aaravos instead to "keep [Aaravos] busy".
7x09: Ezran (and co.) are spared from sacrificing their lives and "everything we are" because of the archdragons, who all sacrifice themselves to stop Aaravos. Ezran holds Zym while his parents / Zubeia die, and then instructs a memorial to be created in the Valley of the Graves.
So, after a season of being angry at an archdragon, at seeing dragons as potential enemies... Ezran and everyone / everything he loves is saved by those very same creatures. Instead of destroyers who force him to sacrifice, they are saviours who choose to sacrifice on his behalf. This doesn't remove responsiblity from Ezran's shoulders per se—in many ways, a world without archdragons adds to it, as he states, "It's up to us now, Zym" (in a nice callback to 1x03)—but I do think it greatly contributes to his perspective in his closing scene this season.
One of the ways it does so is bringing back the gift motif from 4x08, not only in "worthy gifts of sacrifice" but in Ezran's realization that:
We offered gifts that meant a lot to us. But the truth is, they don't mean anything to you.
being directly contrasted in 7x09, with:
AARAVOS: And what will your sacrifices buy? A mere moment of peace before I return to a world without you? Without archdragons. Your deaths mean nothing.
EZRAN: They have given us a great gift. A chance to keep on living. Keep trying to be better.
The first time Ezran spoke of the dragons in 4x01, it was with excitement for Zubeia and Zym's visit to Katolis. He believed "it would change how people see dragons". He offered gifts of friendship and peace in the Valley of the Graves, only for the portrait to be defaced. By the end of season 7, Ezran's desire for people to see the dragons differently has come true, and his honouring of Zubeia is allowed to stand in a way that's far more permanent than a painting.
OPELI: It's the gift ceremony. I'm concerned that holding in the Valley of the Graves is insensitive.
EZRAN: Wait, what? It's a sacred beautiful place. It's a place of peace.
OPELI: Some people have come to me in confidence. They worry that honouring a dragon in a place that is a memorial to so many great humans, some of whom died at their hands, is offensive. (4x03)
EZRAN: Aaravos pushed us to to the brink. We were ready to sacrifice it all. Everything. You and me, Callum, Rayla... We almost gave up everything we are. But because of them, the archdragons, we didn't have to.
Now, I don't think this change at the end of the season will be enough necessarily for Ezran to halt Project Ruby Fire. I don't think it undoes the hard choices he's made or the things he's learned about himself. But I do think it asserts what he's aspiring towards, and helps direct himself to who he wants to be and how he's going to proceed going forward (Evrkynd, Runaan).
Speaking of which, let's finally talk about Runaan. Again.
A Phoenix
I've alluded to this this a bit before, but I think one of the main reasons Ezran chose to forgive Runaan was because of the archdragons' sacrifice. The dragons gave him a chance to keep living, to keep trying to be better—and Ezran then turns and gives that "great gift" in turn to Runaan. I don't know if I think that Ezran would've otherwise had Runaan executed, but forgiveness even more than just being spared is a much more active choice in a lot of ways, and not something that Ezran had to conflate, but chose to.
The other reason I think Ezran chose to forgive Runaan is because, as of the end of S7, he's been Runaan.
As an assassin, I had convinced myself that I was a kind of peacemaker. A twisted peacemaker, I suppose. I believed that my act of precision violence was preferable... necessary, even, to prevent far greater bloodshed.
[...] I was trained to accept that I was already dead, so that I might carry out my dark work without fear. But I am not dead. I am alive. I have a family I love. I have so much to lose, the very things I took from you.
"They have given us a great gift. A chance to keep on living."
Ezran now understands how someone can believe that to keep back chaos and death, you have to kill another person. To believe in your bones that someone has to die, even if that means your own destruction. That doesn't mean Runaan was right about Harrow, or that Ezran is necessarily wrong about Aaravos, but the journey to get there, the mindset, of how undeterred you are when you reach that place... Ezran's been there. He knows, now, in ways he didn't before.
He forgave Zubeia because everything was complicated: because he could relate to longing for his mother (Zym), to watching his father grieve his wife the same way Zubeia was grieving Avizandum, to wanting to protect his kingdom (Avizandum). To grieving family. Of a child who had lost things.
He forgives Runaan because he can understand being an assassin, and already dead, and realizing you almost lost / have forsaken your family along the way. Of violence testing you, and failing, and having to try again. To reforge yourself into something new—because the true heart you had before is gone, but that doesn't mean your heart is.
Ezran stands in front of the fireplace twice in season 7. The first is with Zym in 7x02 and where he has his initial disagreement with Callum. The second time is with Runaan in 7x09, a fire in his eyes. This evokes not only Ezran's fury and association with the dragons, but also the framing of Aaravos from earlier in the season.
Ezran once asked if he was now the king of ashes. 7x09 demands him to answer if he wants to keep being a King of Ashes. If he wants to continue feeding his anger and hate, if he wants to continue fuelling the fire of hatred and grief within him. And Ezran says no. He says yes to forgiveness, though this time, he does not know the way:
EZRAN: But it's not that simple or easy. [...] Somehow, we have to hold it all in our hearts at the same time. (4x03)
CALLUM: But somehow, you got past that. You forgave her, because everything was complicated. (7x02)
EZRAN: I'm going to forgive you. I don't know how, but I have to try. (7x09)
He is presented with a phoenix (Runaan, back from the grave) and chooses to become one himself, and welcome back in all the other pillars of identity that had been crumbling over the past season.
EZRAN: I think about the people I love who are counting on me to do the right thing. Not the strong thing, not the harsh thing. The right thing. Do you love your sister, Prince Karim? (6x07)
It's sort of fitting, then, that in choosing once again to be Harrow's son (positive), he's presented with a more literal bird phoenix in "Harrow's soul in is in Pip" then, too.
And the same rebirth goes for the world around him, too.
ASTRID: Everything burns when a star dies. (7x09)
OPELI: King Ezran... perhaps it is finally time to rebuild.
EZRAN: No. It's time to build something new. [...] Our world faced its end. But we survived. And on the other side, we find ourselves at a new beginning. [...] There is no such thing as utopia. But with hard work and discipline, persistence and patience, we can build a better place.
The Crown, Again (reforge into something new)
So I've talked about the reflection motif, and I've talked now about the phoenix motif. There's still more I could touch on in regards to Ezran's whole thing with Aaravos and the Orphan Queen, the layers of Aaravos' manipulation, the theme of following in your predecessors' footsteps and the good and harm that can come of it, but that's probably a meta for another day. For now, I want to return to the Need motif we touched on earlier.
TDP is very interested in questioning what characters deem necessary. Thus far, this was mostly done through Aaravos ("Aaravos did what was necessary" / "we will do what must be done"), Claudia ("I did what I had to do" / "Maybe he's just doing what needs to be done" / Whatever it takes, however dangerous, however vile"), and Viren ("I tried to explain that I had only done what was necessary"). S7 starts to shift gears and push further at the main trio, questioning and picking apart some of their mindsets (which again, could be a meta on its own) in regards to what sort of violence they believe is necessary and why, only for none of it to actually have been so because of the Archdragons. A nice little meta-narrative reflection.
What I want to actually focus on here is Ezran's idea of need. This is usually couched within his place of being king, and loyalty to his kingdom, as we've seen previously ("But Katolis needs me" / "You are the king of Katolis, and your people need you").
EZRAN: I wish [Zym] could come with me too, but you need to go be with your mom. That's your home. Both of us need to go home. (2x09)
So Ezran believes that needs to be king because Katolis needs him. Great. What does Ezran need?
Season 7 gives various answers, according to himself:
"Callum. High Mage. We need you at this council meeting" (7x02)
"We can't let [Callum] get away with it. Corvus, I need you to track them" (7x03)
"I need to protect [my people]" (7x03)
"Destiny works in mysterious ways. The Novablade came to my ancestor, only to be lost for generations until we needed it" (7x09).
The other people in his life have other ideas, as discussed.
ZUBEIA: But Zym, you must go. Your brother Ezran needs you. (6x02)
AANYA: But you need to know that you and Callum are not broken. The both of you will heal one day. You're brothers.
CALLUM: Mom said it was okay to be angry, but I couldn't let the bad feelings stick. Because we were going to need each other. Because we're brothers. I still need you, Ezran.
Broken things can be mended. Crowns and swords can be reforged. People can be, too. As much as Ezran loves his council and his crownguard, he needs people who don't just see him as king. Callum is not his High Mage, but will always be his brother, and that's what's most important. He needs Callum and Rayla and Zym; he needs Aanya who can help keep him grounded. He needs his family because they help keep him who he is as much as he has for them in the past ("Don't you remember who you are?" in 4x07) now that it is up to them to maintain it, and the archdragons are gone.
And to be himself, Ezran needs to be:
Harrow's son with accordance to a Narrative of Love
The King of Katolis
Callum, Zym, and Rayla's brother
rising from the ashes and bringing others up with him, over and over again the way he always has. The way he always will.
Because not all cycles are bad, either.
Conclusion
As stated, there's more to Ezran's arc in S7: ideas of history and half-truths, of chains and Startouch elves, of home and memorials. Of what we carry against our will, what we choose to set down, and vice versa. What this meta was, then, was the first at likely two passes, focusing on Ezran's emotional state(s) throughout the season and his emotional processing. More structural and thematic based analyses of his character in S7 / across the show thus far will definitely folllow.
For now, though, thank you for reading and I hope you enjoyed a bit of a deeper dive!
could you talk about the bridge scene with the leaf falling over rayla
anon i was literally thinking about that specific shot just a couple days ago so THANK YOU for the opportunity bc it's soo freaking good like
I have a lot of thoughts and feelings about the four Banther Lodge bridge scenes (Rayllum twice in 7x02, Ezran and Aanya in 7x03, and Rayllum's final scene in 7x09). Bridges in fiction usually symbolize transition, thresholds, or unity, but none of these ideas are particularly present in half the scenes on said bridge. I do think we can see some overall arc though if we look at Rayllum's scenes together in 7x02.
Rayla is fronting with anger and frustration, since that's what she's always done with her sadness and guilt, particularly when she feels helpless. The fact that it's a beloved friend who's unexpectedly being an obstacle to her when this was never the case with Zym/Zubeia has also gotta sting. This is also Rayla in some ways at her least mature / most impatient (beyond the marginally better council meeting, even if Rayla is canonically terrible at explaining things).
We also know she's reacting emotionally (as previously stated, Callum is literally the only person Rayla can count on to be in her corner here whatsoever; without him, she has no one, whereas Ezran has the entire council + Zym and Aanya) since when Callum does offer to be on her side and actively help her, Rayla rejects it out of love for him and Ezran. She wasn't necessarily asking him to take a stand for her earlier on the bridge, but wanting to know that someone else understood her perspective (and he does).
This episode in particular establishes a strong visual language for the two (i.e. Rayla standing in the dark during the council meeting, Callum's chair being closest to hers, etc). The visual parallels between the bridge meetings, as well as set up for later in the episode, are no exception; I'll talk about the couple more I noticed in a bit.
And Rayllum does have a nice moment of unity on the bridge, even if it ultimately is supposed to be their goodbye for an unknown period of time. The last time they were on a bridge of sorts, it was the pathway Viren had carved with dark magic in 5x02: "But it's a bridge between our two worlds, and now here we are, crossing it together." "Maybe you're right. It's an old wound that's healing."
Now, they're being forced apart by their own choices / circumstances, and reopening an old wound of sorts in doing so because Ezran hasn't healed (and at this point, largely refuses to try).
With all that out of the way, we can actually talk about the shot(s) you requested! The most interesting one to me, I think, is the choice to frame it in water. Now it could just be a nice way to freshen up the shot, give us a different perspective, etc. Water reflections and such are present in the other bridge scene with Aanya after all, and are commonly utilized in animation, storyboarding, etc to make things look more interesting when there's an opportunity to do so.
Most of the time in TDP, even when including Rayllum, water shots are framed rightside up, accentuating but not dislodging the audience's natural perspective of things.
For example, even in Ezran and Aanya's scene on the bridge, we don't see this inverted perspective the way we do for Rayllum here.
Which begs the question why? I think there's one more likely / direct option, and another more beloved tinfoil hat version. The one I think they were actually going for (the first) is to invoke a sense of unnaturalness. Callum and Rayla separating feels fundamentally wrong to both of them, especially this time, and turning things upside down, away from how they should be, helps create that feeling.
The other more tinfoil hat one is that — in a season with an episode titled "Inversion" — we have seen this "upside down" thread in TDP before.
We have King Harrow's "there's a beautiful upside down truth" in 2x05, which doesn't really fit with the above (although maybe there could be a connection with "forgive me" / "i now believe true strength is found in forgiveness, in vulnerability, in love" etc).
More directly, there's the Key of Aaravos, whose repeated 'turning upside down' has been a segue to dark magic use routinely, specifically in 7x06's case at the "If you love her, you'll be the you that can save her." (More on that here, if you're curious.)
With this in mind, the tinfoil idea would be that the Rayllum reflection inversion is set up to further connect with 7x06, and highlight how much Callum wants to help her, is only willing to separate from her for her own genuine good, and that he'd do anything for her. ("You don't have to ask. I would do anything for you." / "If you love them, Rayla, Ezran, all of them, you'll do anything to save them.")
After the above shot on the bridge, Callum begins to walk away, a reversal of earlier where Rayla left first. In doing so, Callum passes behind her, being totally covered up by her like they are one person. This is again to reinforce the pain of being potentially separated and how unnatural it feels, especially because this feeling of Callum-and-Rayla as one entity is going to be further reaffirmed in the finale (wherein unlike Viren's heart and body/life being sacrificed together unto himself, Rayla's heart and Callum's body/life would be sacrificed together).
Then the leaf pops up, obscuring Rayla's face/head — but this isn't the first time we've seen this framing. We actually just saw it earlier in the scene!
There's a few reasons, I think. The first is to accentuate division and absence. They're going to be separated, Rayla is going to be gone, anchoring us a bit more to Callum's thoughts/feelings accordingly. I also think there's an element of outside, externalized forces more so being the reason for their separation (i.e. everything with Ezran) rather than it being something either of them actively Want, either. There's also an element of erasure, reminiscent of Ghosting erasing not an elf's body necessarily within the spell, but their faces as a sign of the banishment. The boys and Katolis have been Rayla's second default home, but now everyone (except Callum) is against her, refusing to acknowledge her pain or perspective (although she hasn't done a great job at acknowledging Ez's, but she also doesn't have Power over him the same way he does in this situation), and she feels compelled to turn against them this time to do what feels right for her family.
Then we have the closing shots of the scene with the leaf.
The leaf causes ripples (which is loaded as a concept: Rayla causing ripples by chucking rocks at her still floating Lotus; her "ripples of mercy" in sparing Marcos in S1 that have not yet stilled; Aaravos' fascination with ripples as laid out in the TDP short story of the same name). We do know presumably that Callum's choice to go with Rayla to the Silvergrove (and help her father) was somewhat set in stone, since if Astrid had flown to Katolis she would've just found ruins, wouldn't have known to go to the Banther Lodge (or gotten info there since nobody knows who she is), so Kosmo must've told her where the Mage and the Warrior would be ahead of time. Very 'fated' in some ways.
The ripples also lead to distortion. This can convey impact (threaded back into the tinfoil lens) or Rayla being further obscured (negative). The leaf moves further to be a 'physical barrier' between the two on the bridge, as Callum leaves Rayla standing alone (but still, she's gone before he turns around).
I do think the choice to set it on the water is a nice piece of possible setup for water (the boat, aided by Callum's magic) being their successful (positive) getaway later.
Another little piece of symbolism I love this episode is their hands, specifically how they reluctantly part with Callum's lingering in their goodbye on the bridge, and how the hands are used to symbolize being reunified after he comes to her rescue.
