'House of the Dragon' Season 2, Episodes 1-3: A Welcome Return to Form
Rising from the ashes of Game of Thrones, it’s safe to say that House of the Dragon has firmly proved its staying power amongst critics and audiences alike. Soaring along at a 90% approval rating on Rotten Tomatoes, the prequel series also beat Euphoria’s record for the largest single-day viewership for an HBO Max series debut. Its second season has proved that the first was no fluke, that we are in for another epic series which will hopefully avoid the pitfalls which Game of Thrones fell into.
Set in the universe of the Song of Ice and Fire series by George R. R. Martin, the series is an adaptation of the Dance of the Dragons, a vicious civil war between two factions of House Targaryen, the rulers of the Seven Kingdoms (minus Dorne, which was still independent at the time). This period in the history of Westeros was originally covered by Martin in two novellas: The Rogue Prince, named for Prince Daemon Targaryen, and The Princess and the Queen, which references Princess Rhaenyra Targaryen and her stepmother, Queen Alicent Targaryen (nee Hightower). Martin later expanded on both these novellas with the full-length novel Fire and Blood. This novel provides a history of the first eight rulers of House Targaryen, including the Dance of the Dragons. The first season of House of the Dragon covered the buildup to this war, concluding with the death of King Viserys (Paddy Considine), the plot to usurp his chosen heir Rhaenyra (Emma D’Arcy) in order for Alicent (Olivia Cooke) to put her firstborn son Aegon (Tom Glynn-Carney) on the Iron Throne. In response, Rhaenyra was herself crowned Queen of the Seven Kingdoms by her uncle and consort (roll with it), the aforementioned Daemon Targaryen (Matt Smith). The first season’s finale saw the death of Rhaenyra’s second son Lucerys (Elliot Grihault) at the hands (or claws) of Vhagar, the great dragon ridden by Alicent’s second son Aemond (Ewan Mitchell). This brutal act of violence was rightly seen as a harbinger of terrible bloodshed to come.
Despite the loss of a showrunner (Miguel Sapochnik having left the show in the sole hands of Ryan Condal), the second season’s first three episodes not only maintain the quality of the first season, but actually improve on it. For all that the first season did to establish the main players in this game of thrones (heh), one couldn’t help but feel as if the timeline was being rushed. There was more than enough story for at least two seasons’ worth of episodes. Indeed, many fans were initially disappointed that they only got five episodes of Milly Alcock and Emily Carey as young Rhaenyra and young Alicent. The second season is taking things at a much slower pace, at least where the first three episodes are concerned. Those who are familiar with the events of the book will appreciate how closely the show’s creators are following the canon, and paving the ground for future events. Several characters such as Addam of Hull (Clinton Liberty), Ulf White (Tom Bennett), and Hugh Hammer (Kieran Bew) have been given early introductions. We’re given time to meet them and know them until their future importance comes about.
In the meantime, we are also getting a lot of scenes in order to develop the main cast. Alicent Hightower was never given much to do in the book except be a grasping antagonist to Rhaenyra. Just like with King Viserys, Alicent has been granted a far more sympathetic and multilayered character. For one thing, her relationship with Rhaenyra began in friendship during the first season, only for it to devolve into jealousy and resentment. It didn’t help that Alicent’s scheming father, Otto Hightower (Rhys Ifans) was eager to put his own grandchildren on the Iron Throne instead of Rhaenyra. Now, however, with their plotting achieved, Otto and Alicent are faced with the realisation that their choice for king might not be as worthy of the throne as they’d hoped.
Speaking of Aegon, he is another character who has benefited from a more rounded portrayal in the series. Although he is still the antagonistic usurper with a predilection for carelessness and licentious indulgences, there are moments where he truly seems determined to be a beloved king. However, personal tragedy and his own insecurities lead to a wish for vengeance, as well as a desire to be seen as a strong ruler. It doesn’t help that he has an intense rivalry with his brother Aemond, whose brooding presence harbours a ruthless disposition and a mostly unspoken ambition.
Aemond isn’t the only one with his own agenda, of course; Ser Criston Cole (Fabien Frankel) has firmly ingratiated himself to the Greens, proving to be one of Rhaenyra’s staunchest enemies. However, his relationship with the Greens is becoming dubious; not only is he named Hand of the King by Aegon, he is also plotting with Aemond to kickstart a war, even as he is also embroiled in a salacious affair with Alicent. It’s a rather ironic development for him, given that his doomed affair with Rhaenyra led him into the Greens’ camp in the first place, but it’s an understandable and fitting hypocrisy to add to his already problematic character.
Speaking of problematic characters, Daemon Targaryen is once again affirmed to be one of the most interesting figures in this high drama. Smith proves his incredible range once more as Daemon proves to be a fickle ally to Rhaenyra. When Lucerys falls, he is the first to act, determined to make blood pay for blood. When this understandably escalates the tension, Daemon takes on a new task for the Blacks’ cause. This leads him to the cursed castle Harrenhal, whose ruined halls are imbibed with an unknown force; even as Daemon seeks to rally Rhaenyra’s allies in the Riverlands, he is faced with an unexpected vision and an abrupt prophecy by a mysterious woman (Gayle Rankin).
Thus far, the season has done a highly efficient job portraying the way that the Seven Kingdoms are sliding, slowly but surely, into civil war. Some characters, such as Criston Cole and Aemond, are only too eager to shed blood, whilst other characters strive to prevent the destruction from unfolding. These include Alicent, Rhaenyra, and Rhaenyra’s cousin Rhaenys (Eve Best). The latter is especially vocal for bloodshed to be avoided, but little does she know that she, her husband Corlys Velaryon (Steve Toussaint), and their granddaughters Rhaena (Phoebe Campbell) and Baela (Bethany Antonia) are all destined to play fateful parts in what is to come.
The production quality is, of course, top-notch. The second season is given a far more interesting intro, where an elaborate tapestry is woven beneath the credits. Directors Alan Taylor, Clare Kilner, and Geeta Vasant Patel all prove their worth with these three episodes. The performances are as good as ever, and the writing makes excellent use of the slower pace to flesh out the story and its characters. Great detail is put into each episode, which book readers will appreciate as foreshadowing for what will happen further down the line. In the meantime, the series is giving all its main characters a chance in the spotlight, and all the actors are up to the task. The looming war brings out the best and worst in these characters, as well as their apprehensions and vulnerabilities.
To be clear, these first three episodes aren’t without criticism, albeit subjective. There are a few moments which, while well written and well acted, do seem a little contrived. For example, why did Jacaerys (Harry Collett) travel all the way to the Wall with Cregan Stark (Tom Taylor)? It seems like a rather strange excursion for him to make when time is of the essence in making alliances. Some took issue with the way that the first episode concluded, as it deviated somewhat from the events of the book. However, others found it an improvement, citing it as a far more interesting portrayal of Princess Helaena (Phia Saban). Episode 3 also concludes with a surprise confrontation between two of the main characters. Despite the strength of the scene, it does seem somewhat inconsistent when you recall what’s at stake for both those characters. When they go their separate ways, it feels like a foolish decision for one of them not to have the other immediately arrested or killed; if they’re as set in their ways as they seem, why wouldn’t they take advantage of the other’s vulnerability and put an end to the war before it really kicks off? Also, it’s been three episodes, and we have yet to see the return of Ser Harrold Westerling (Graham McTavish). The last we saw of him, he had left the Green council in a fury after stripping off his white Kingsguard cloak. It seems strange that he has yet to resurface, especially since he left so ambiguously, and one can only hope that the second season hasn’t forgotten to resolve it. There have also been other changes which will divide book fans, particularly the purists.
All in all, however, despite any flaws it might have, this new season is shaping up to surpass the first one, and possibly Game of Thrones itself. One can only hope that the rest of the season will maintain this upward trend rather than stumble and fall into infamy.