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chooses said family/guy over rational decisions in this case elopes with rhaegar✅

chooses son/status over family and regrets it ✅ (unconfirmed but considering everything that was happening with the starks it would be a choice to not have her say anything for like a year after seeing thousands and her family die trying to get to her)

captive by said prince in a tower✅ (unconfirmed but can we be so serious i think id be crazy if she never tried to send a letter or anything during her time in dorne ,the tower of joy was a prison)

dies tragically, profit✅

Ok so APPARENTLY reports of rhaella abusing viserys were a misunderstanding of the play? Im waiting on the script before i judge that and same with Cersei because ive seen people characterise the interplay between her and Jaime differently.

idk im still on my corner with lyanna like she was just 14-15 when all this happened and unfortunately prophecy pilled but there's a lot of weirdness, this is what i meant by theyre kinda hotd rhaenysing her by having this "guess i'll just accept it whatever happens happens🤷🏽‍♀️" attitude to husbands cheating and bastards being involved like i think the catelyn affect of not accepting jon and jon pilled fans kinda ruined the complexity of this discussion in a meta way with both fans and the author/writers writing women in this situation (this is the entire reason why Cat had that scene with the doll in GOT and ppl coping that cat ressurecting jon would be her redemption for not loving him)

Lyanna and Benjen for some reason:

My biggest issue with Elia’s characterization is that it starts from an interesting premise before collapsing under its own contradictions. I genuinely liked the idea of her supporting Rhaegar in removing Aerys from power. That aligns with House Martell’s interests and gives Elia real political agency. But then the story pushes the “girlboss” angle so far that it becomes self-defeating.

Having Elia actively support Rhaegar and Lyanna’s relationship undermines her own stated goals. If her priority is strengthening House Martell, why would she support a situation that threatens her children’s future? Aegon may be the eldest son, but Rhaegar has already proven himself willing to disregard his marriage for the sake of prophecy and obsession. He believes his third child is the Prince That Was Promised, so what is stopping him from legitimizing that child, naming Lyanna his queen, and setting Elia aside? A half-rotten onion is still a rotten onion. Once Rhaegar has shown he is willing to abandon one duty, there is little reason for Elia to trust him with the rest.

The story seems aware of this problem, so instead of addressing it, it sidesteps it. Elia is rewritten as someone who never cared for Rhaegar romantically and is instead in love with Ashara. But Ashara herself exists largely as “the love interest,” making the relationship feel less like a meaningful romance and more like a convenient excuse to remove any emotional conflict. Rather than developing Elia and Ashara’s relationship for its own sake, it mainly serves to make readers more accepting of Rhaegar and Lyanna.

There’s also a broader pattern that weakens many of the female characters. The women are written as so relentlessly calculating, ruthless, and “strong” that they lose much of their humanity, while the men are softened by comparison. Rhaella’s desperate desire for a child that is destructive, while Aerys is reframed as simply wanting a child who will bring peace. Rhaegar is the one cautioning Lyanna against becoming consumed by prophecy. Elia becomes an untouchable political mastermind, and Ashara is reduced to an endlessly liberated “girlboss” who wants countless lovers.

The problem isn’t that these women are ambitious, politically savvy, or morally gray. Those traits can make for fantastic characters. The problem is that the story seems to equate strength with emotional detachment, constant competence, and a rejection of vulnerability. In trying so hard to make its women appear powerful and independent, it strips away much of the softness, insecurity, and emotional complexity that make characters feel like real people. Ironically, that ends up making the male characters seem more grounded and sympathetic than the women, despite the story’s apparent intentions.

This is the corner George wrote himself into. Fundamentally he wants Rhaegar to be a good guy and to be likeable to an audience but he writes him as continually doing unlikeable things which then means you have to warp the characters around him to preserve any kind of notion of Rhaegar as a protagonist.

Even thought it´s been shown that while the Dornish elite don´t care about being seen as prude like the rest of Westeros bastardy and marriages are still a factor politically. Daemon Sand and Elliria Sand aren´t allowed to marry a Martell they are in love with because they are bastards.

This is the corner George wrote himself into. Fundamentally he wants Rhaegar to be a good guy and to be likeable to an audience but he writes him as continually doing unlikeable things which then means you have to warp the characters around him to preserve any kind of notion of Rhaegar as a protagonist.

(Of course it´s likely Robert would still want to attack instead of negotiate a formal surrender and letting them keep DS or live at court as hostages specially since he allowed Tywin´s murder of Rhaegar´s line to go unpunished. But it pretty much ensured that House Targaryen was still a claimant to the Throne which any new dynasty was, understandably, going to do something about.)

(I also thought the crowning would be something that deeply impacted young Viserys and helped to explain part of why he is so desperate to retake the Iron Throne.)

Brandon & Rickard started a war for the sister & daughter they loved dearly.