Three. For some reason, it's an extremely compelling number to us humans. It is embedded in religions across the world: from the trinity of gods at the heart of Hinduism, to the Holy Trinity of Christianity. Perhaps it is because our own consciousness has three parts. At least, so thought Sigmund Freud. In a way he was wrong, but also in a way he was right. He was wrong in thinking that the sections were quite distinct, and also about how unrelentingly dark the Id was. Freud was a Spencerian in his view of humans: He felt that humans were essentially evil, and that the Id was our most essential part. Therefore, any evil desires would necessarily belong to the Id. However, most philosophers now disagree: having seen first hand over the course of the 20th and 21st centuries how logic and reason can be twisted to produce horrific evil. Humans, it turns out, are neither essentially good nor essentially bad. Our Ids are just as complicated. But the way in which Freud was correct, was in thinking that this is our most essential part: the part that comes first. Now, typically the Freudian trio is used for comedic effect: with the id character's impulsiveness instigating the series of misadventures, while the ego character tries to stop things at every turn, and the superego character tries to mediate between the two. This is the heart and soul of the classic movie Ferris Bueller's Day Out: where Ferris represents the id, Janet represents the ego, and the principal represents the superego. Of course, it can be used for drama: as was excellently done in Harry Potter, Pirates of the Caribbean and in The Hunger Games.
All of these stories have one thing in common: the female member of the trio-whether she represents the ego (like Hermione) or the superego (like Elizabeth Swan) or the id (like Katniss)-must choose between the two boys. The two boys, in addition to representing one of the three parts of consciousness also represent childhood and adulthood. Hermione's choice of Ron rather than Harry, represents her maturity: diplomatic, emotionally open Ron represents the superego, so choosing him represents a desire for ascension. For Katniss, choosing cool-headed Peeta who represents the ego over fiery Gale who represents the superego represents a desire for stability. For Elizabeth Swan, choosing Will over Jack represents a desire for authentic maturity rather than blustering swagger.
But in The Dragon Prince, all of that is thrown out of the window. Ezran represents the id, Callum the superego, and Rayla the ego. However, the two boys are children. Rayla doesn't need to choose one of them: in fact, she needs to protect them both. In fact, if any character is going to be choosing romantic partners in the coming seasons it will be Callum: he is getting to be old enough and isn't an outcast in his society. But he wouldn't be choosing between the two members of the trio, since Ezran is his adopted brother. He would be choosing between Rayla, and Claudia the villainous seductress (whom the first episode sets up as being his crush). It also wouldn't be a multi-episode arc (or three book/movie arc).
This is unusual: a trio of characters who aren't a love triangle. It has become a signature of Aaron Ehasz and Justin Richmond, creators of this show and the beloved Avatar: the Last Airbender. There, because Sokka and Katara are brother and sister and Aang is a child: the usually tightly closed group of heroes is left slightly open. Other recurring characters can form relationships with the heroes more easily. This allows more chances for character development and solo arcs.
Like many other classic trios: Ezran, Callum and Rayla fulfill another trope. Big, Thin, and Short. This is a staple of comedy: but here it is used both for comic relief and for drama. Ezran is indeed grumpy, as the short guy tends to be: and being the youngest of the trio, he is also short. However, his age recasts his grumpiness as childishness: rather than being grating or curmudgeonly. His pet toad Bait is also annoying, but again: the behavior is recast as the antics of a not-so-intelligent animal. Rayla, just like the classic Thin guy, is both genuinely kind and grumpy by turns. Her grumpiness however is clearly a defense mechanism: a way to keep herself from getting hurt in a society that isn't as compassionate as she is. Rayla, unlike the two boys, is selfless. She's ready to lose a body part, rather than kill Ezran. But the viewer can't hold the boys' selfishness against them: because they're children.
They are also Land, Sea and Sky. Rayla represents the Land, the shade of the forest canopy and a connection to nature. She fears water, which represents the way in which water can wear away landscapes. Callum represents sky: he carries the primal storm, has the most affinity for air and lightning magic, and he has mercurial moods which only Ezran can temper. Ezran represents the water: he has a fascination with it, has formed a close bond with an amphibian, and is emotionally sensitive. Like the classic Big guy, Callum is the consistently good-natured one in the party. Here though, this overlaps with the pure-hearted hero trope: Callum is unerringly and inherently virtuous, and even at such a young age he is able to persuade others to do the right thing. Which means, what we have here is another Jason and the Argonauts story: the story of a man becoming a king. The title of the show after all, has a certain unavoidable (and probably intentional) association. Sure, yes, it's clear from the first episode that it's there because the Dragon Prince egg is the McGuffin. So, like the Maltese Falcon, the show is named after the object that the characters all care about a great deal. But this egg means nothing to the audience.
The title however is meaningful to the audience because of it's association with the myth of King Arthur. And that is what we have here: we have an Arthurian legend, but quite a modern one. Pendragon, that's the surname associated with Arthur in the legends: and it roughly translates from Welsh as Dragon Prince (the word "pen" can have many different meanings, but one of them is "chief" which seems the most likely given that this is a person's name). Here it isn't so much associated with the actual dragon egg, as with Callum: the prince with power of lightning and air. At the end of the season there is also an intrinsic association between Callum and the newly hatched dragon: because it was Callum's quick thinking and quick action which saved the baby dragon's life. Mages and dragons are also inherently connected: as magic requires using draconic words. Thus Callum is in many ways much more deeply connected to the dragon prince than any of the other characters. But the first thing that the trio need to do is get the dragon prince back to his mother: the dragon Queen. This has incredible significance for their world, because it is the killing of the dragon King, and the loss of his only son that drives the war between the humans and the elves. Or at least, it was. Now, can three children correct centuries of racism and bitter blood feuds? can a single baby dragon make up for the thousands who were lost? Season 2 certainly isn't going to be boring.
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