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House of the Dragon | August 21, 2022 (United States) Summary: House of the Dragon tells the story of an internal succession war within House Targaryen at the height of its power, 172 years before the birth of Daenerys Targaryen.
Countries: United StatesLanguages: English

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House of the Dragon 2022 Season 1 Review

House of the Dragon 2022, The pilot episode on Sky Atlantic was nothing short of extraordinary. For one hour, it whirls through everything that made Game of Thrones a television giant, especially during the show’s heyday. It’s like a greatest hits album of Westeros at its heaviest. Members of the same family conspire and betray one another behind each other’s backs and in plain view of everyone else. Fighting, romping, and jousting all take place. And, yes, there are dragons. Drunken orgy, axe to the face, caesarean without anaesthetic, gaping wounds, amputated limbs, and dismembered organs are all present. The world of George RR Martin returns to our screens with swagger and self-assurance.

It’s fascinating in that it’s so horrifying. Starting 172 years before Daenerys Targaryen was born, this prequel to “Game of Thrones” follows the downfall of the Targaryen dynasty, albeit after watching the first six episodes of bickering and plotting, one might wonder how it could take two centuries. It begins with a King Lear–like scenario in which a dying monarch must choose an heir, and while the cast changes throughout the series, the theme of succession remains constant.

The first five episodes focus on little Princess Rhaenyra, the sole child of King Viserys I (played by Milly Alcock) (Paddy Considine). Rhaenyra is a strong, ambitious, and fearless teenager who would be a great heir if it weren’t for the fact that the Lords have made it clear, in recent history, that tradition expects a king, not a queen, on the Iron Throne. As well as being used as breeding machines and bargaining chips, royal women play these roles in this realm as well. In a later episode, one of the men adds, “I am pleased I am not a woman.” It’s so good that it might as well be the campaign’s catchphrase.

Viserys’s brother steps forward amidst widespread criticism of Rhaenyra. Daemon, being the proud peacock that he is, is not one to abide by rules he views as beneath him. As Viserys’s health appears to be deteriorating, speculation regarding the next political axis point increases in urgency. And Matt Smith plays Daemon as a vain and angry guy who still can’t fully betray his family name, and I’d say that Game of Thrones flourished on the power of its villains, far more than the virtues of its heroes. Yes, he is a misogynist and a sadist, and he is the only truly terrible major player in King’s Landing up to the sixth episode. The villains that are fun to rage against are introduced slowly but surely in House of the Dragon.

This is in part due to the fact that it is an improved and more mature version of our own. More talking, less doing, in Elvis’s garbled words. There are epic battle scenes with sprawling fights and bloody beatings (to the uninitiated, the “Crab Feeder” might sound cute, but wait until you see how that works out), but after the opener, most of the drama is comprised of hushed conversations and heated debates about loyalties, betrayals, allegiances, and which children should be married off to minimise political fallout. A great deal of talking takes place.

The fact that it is tailored to a particular situation is both a strength and a weakness. It’s got a tonne of depth and the narrative emphasis that works with such a large ensemble. Although other well-known names are referenced — a Tully here, a Stark there, an arrogant Lannister dropping by — this is clearly the narrative of the Targaryen dynasty. I’m not sure I could have kept up if it jumped around between the Houses and their respective power centres with that level of detail. However, I did miss Game of Thrones’ scope and its capacity to switch between places, each of which was so vivid in its own way.

After jumping ahead in time by a few years here and there, episode six takes place ten years later, when everyone has a large brood of offspring. (It has as many deliveries as an episode of One Born Every Minute, but strangely enough, none of the reassuring feelings associated with new life.) Some of the characters are given new adult identities, and the plot is seemingly restarted from the beginning. The suddenness of this jump could have been exacerbated if it weren’t for how refined and proper and obviously well-made this is. House of the Dragon is a grand and cinematic television show that stretches the limits of what television is capable of. It’s not as entertaining as its predecessor, but only slightly so.

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