Contrary to the modern Left-wing narrative, the LGTBQ community has become the most privileged and protected class in America, so much so that they have hijacked every single cultural space, major corporation, and the highest levels of government. With such remarkable power at their disposal, the movement has become corrupt in relatively short order.
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The latest example comes courtesy of HBO’s House of the Dragon, a prequel series based on George R.R. Martin’s Game of Thrones universe. The fifth episode of the first season stirred outrage within the radical Left LGTBQ space after the character Ser Criston Cole beat Ser Joffrey Lonmouth to death in the middle of Princess Rhaenyra’s pre-wedding dinner festivities.
It didn’t take long for radical activists to throw manufactured temper tantrums on Twitter, accusing the show of bigotry and homophobia. Naturally, the context of the death in question was ignored, simply because it didn’t line up with their narrative.
In the story, Lonmouth is murdered by Cole after the former reveals that he knows of the sexual relationship between the royal knight and Princess Rhaenyra. He reveals this information as a means of guaranteeing mutually assured destruction, should Cole ever reveal that Rhaenyra’s betrothed, Laenor Valeryon, is in a sexual relationship with Lonmouth.
None of that matters, since the narrative must trump all, even at the cost of honesty, sincerity and integrity. User @jackarking took Ser Criston Cole’s actions as a sign of betrayal against the LGBTQ cause when he wrote “And here I was thinking that Ser Criston Cole was an ally,” suggesting it was somehow personal, even though Ser Criston Cole is a made up character.
User @falkring also chimed in, citing “criston cole homophobic spread the word,” with several replies going so far as to accuse Cole of committing a full-blown hate crime. The silliness didn’t stop at the Twitter level, either. Prominent web outlets also decided to offer their predictably agenda-driven thoughts, as well.
Them.us writer Abbey Monteil penned an entire piece about how Lonmouth’s character was introduced, then promptly axed in the fifth episode in what she described as a continuation of the “bury your gays” trope.
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“This isn’t the first time that a Game of Thrones adaptation has unnecessarily upped the homophobia,” she began. “In the original A Song of Ice and Fire books, gay character Loras Tyrell is seriously injured while storming Dragonstone during a battle, but ultimately survives. But in the Game of Thrones TV series, he’s jailed and tortured for being gay, all before getting blown up alongside his father and sister.”
Which is true, though the implications related to the changing of Tyrell’s story were undoubtedly done to throw shade at organized religious abhorrence of homosexuality, and the persecution directed at those who practice it, so what exactly is the point here? We were led to believe by supposedly reliable sources that shining a light on LGBTQ persecution was a good thing.
It didn’t stop there. David Opie over at DigitalSpy.com gave a similar take loaded with confirmation bias, while grossly ignoring some basic facts about Game of Thrones lore as a whole. He wrote, “Game of Thrones… has always had a long history of killing pretty much everyone, yes, but when it came to LGBTQ+ characters, there was always a homophobic subtext that became impossible to ignore.”
He goes on to add, “In a world where everyone dies, queer men like Oberyn Martell, Loras Tyrell and King Renly noticeably suffered a more grisly death than most still.”
I guess he forgot about characters like Meryn Trant, whose eyes were gouged out by Arya Stark before he was stabbed repeatedly to death, then had his throat cut. Or perhaps the prisoner in the season two episode “Garden of Bones,” who suffers a horrifying death via rats burrowing into his chest.
Other characters got the chop in similar grisly fashion, such as Ramsay Bolton (eaten alive by his own hounds), a faith militant member in season six (the Mountain tore his head clean off his shoulders), and Trystane Martell (stabbed through the back of the head with a pike).
And finally, let’s not forget Talisa Stark, who was stabbed repeatedly in her pregnant stomach by Lothar Frey at the Red Wedding and left to bleed out. The Left cried few tears for her, no doubt because she was pregnant with a “fetus” that wasn’t actually a real human being, according to Leftist propaganda.
Opie continued his rant with “Cue House of the Dragon, a show where gays can defy all odds and live happily in love together, but only for a scene or two, because straight people.” Yes, as fans of the franchise know, almost every straight person gets to indulge in a happy, healthy relationship with their lover. Happens all the time…only it doesn’t.
“Joffrey isn’t much of a character in his own right during his brief time onscreen,” he continues. “Instead, he’s there specifically to die at the hands of Criston (and his toxic masculinity), thereby moving other chess pieces like Laenor, Rhaenyra, and even Alicent into the necessary places ready for next week.”
The predictable recycled monotony continues for some time, until Obie expends all of his activism mana for the day. What’s left is a narrative that has been withering on the vine for quite some time. Obie’s take is ridiculous and patently absurd on its face, but the goal is not to be honest – it is to be political in nature.
Once again, the irony of Left-wing LGTBQ advocates attacking Left-wing showrunners working for an obviously Left-wing media outlet cannot be overstated. The cycle of of Leftist “diversity and representation” quotas plays out via the following steps:
First, utilize LGTBQ characters as political pawns to further an agenda, usually via queerbaiting.
Second, LGBTQ activists take issue with said queerbaiting, while capitalizing on the deaths of any gay or lesbian character as a sign of homophobia.
Third, showrunners and networks are left holding the ball, wondering why they are being attacked for trying to represent LGBTQ characters on screen.
The entire sequence of events plays out inside of a proverbial fish bowl, and the players are all piranha willing to attack each other in order to prop up their own ideological activism.
It’s a fascinating thing to watch, and it plays out identically, over and over again. House of the Dragon (and Game of Thrones, for that matter) was not produced by a bunch of Right-wing Christians. Rather, the cast and crew are overwhelmingly Leftist in nature, so the question must be asked – where is the unity and cohesion among like-minded ideologues?
The truth is that such unity is a farce, and has never been a real thing. Virtue-signaling and camera posturing are the order of the day, but when the lights go out, there’s no actual arm-in-arm solidarity or adherence to the values supposedly shared by Leftists. This is not the LGBTQ community attacking the Christian Right; it’s the LGTBQ community attacking its own side.
It also speaks to the ugliness of the radical Left movement; a rather small, but very vocal subset of activists who manufacture vast amounts of viciousness out of thin air (i.e. racism, bigotry, sexism, homophobia, transphobia) due to short supply. If they ever admitted that the problems were not as large as they claimed, it would undermine their entire reason for being.
This used to be tied directly to supposed “anti-racism” proponents who were able to amass incredible power by insisting that racism lurked everywhere. If Al Sharpton had admitted that racism had dwindled by a huge margin since the days preceding Civil Rights, he couldn’t afford the luxury of flying around in private jets, while dodging $4.5 million in back taxes.
As far as LGBTQ characters in Leftist-created shows like House of the Dragon, it seems as if there’s a constant communication breakdown and lack of cohesion. House of the Dragon was touted by GLAAD (Gay & Lesbian Alliance Against Defamation) as “must-see LGBTQ TV” back in August, citing “non-binary” actress Emma D’Arcy as a huge draw.
GLAAD has remarkable influence inside of Hollywood, so it remains to be seen if they’ll offer their two cents on the death of Ser Joffrey Lonmouth. As it stands, if members of the LGBTQ community are so incensed about the death of the character, they’ll need to take the issue up with their own side.
That, in itself, is the most ironic and humorous part of this whole tiresome debacle.