Rewrite: Since the premiere of the Game of Thrones offshoot, House of the Dragon, in summer 2022, an array of events have transpired. Taylor Swift launched two new records, a few shifts in taoiseach have taken place, and once more, Ireland was expelled from the Rugby World Cup (a constant in an erratic world). In other words, amidst the rush of life and a two-year hiatus, are we able to remember the intricate contours of this complex spin-off by George RR Martin, brimming with antagonistic Hightowers, menacing Targaryens and a multitude of blond-wigged angry adolescents?
The answer, without doubt, is negative. Nonetheless, House of the Dragon (screened on Sky Atlantic and Now, every Monday at 9pm) has chosen to ignore this as it embraces its spectacular comeback and dives headfirst into the story. If you remember, the first season ended with a significant amplification of the latent discord between the opposing groups within the reigning House Targaryen, when Prince Aemond (blond, adorned with an eye-patch, and a colossal dragon) accidentally caused the death of his rival Lucerys (with brown hair and a minuscule dragon). The signal fires are ablaze. A conflict between the royal family’s “Green” and “Black” factions is now unavoidable.
Game of Thrones was far from being a warm and cosy viewing experience. Yet when compared to its precursor’s frivolous display of nudity, stabbing-slanted nuptials and grandstanding brutality, House of the Dragon feels like a swig of Special Brew. It is intenser, richer and darker – resembling an anti-TikTok that calls for unswerving attention from its viewers.
For those willing to invest the necessary effort, the pay-off is extraordinarily engaging television. As the narrative picks up again, the King’s Landing capital is embroiled in turmoil, while Alicent Hightower (portrayed by Olivia Cooke) strives to dissuade her defiant son and the newly crowned King Aegon II (played by Tom Glynn-Carney), from wrecking havoc on the kingdom in a whimsical tantrum.
Game of Thrones fans are sure to be thrilled by the return of the profound fantasy that is House of the Dragon, which puts its predecessor in the shade.
There are elements of Prince Joffrey, from the original Game of Thrones, in the unpredictable Aegon. The cautious Alicent and her cunning father, Otto Hightower (played by Rhys Ifans), immediately perceive that he presents an equally dangerous threat to the Seven Kingdoms’ stability as the “Black” breakaways at Dragonstone.
Queen Rhaenyra, performed by Emma D’Arcy, and her uncle and spouse, Prince Daemon Targaryen, are the leaders of the rebels. Overwhelmed by the loss of her boy Lucerys, Rhaenyra is incapable of taking charge of her forces. As the obscurity of war envelops them, it’s Daemon, portrayed by Matt Smith, who believes he must dictate their actions. Regrettably, his crude and forceful approach to scheming results in disastrous outcomes.
If anticipation serves him correctly, Daemon hires a hitman to invade the Targaryen’s private quarters in King’s Landing, with some assistance from a rat-catcher. Aemond is the desired victim, but due to his engagement at a brothel, the assassin ends up murdering Aegon II’s infant in his cot. This fulfils Daemon’s mandate to avenge Lucerys’s death by giving “a son for a son”. This horrifying act took the hostilities to an irreversible level.
Despite the popular criticism that House of the Dragon doesn’t wide cast its lens as Game of Thrones did – one moment showing us Daenerys leading the Dothraki and the next a shivering and miserable Jon Snow – it offers something different. It might not have the far-reaching narrative of Thrones, but it makes up for this with its intricately twisted plot and impeccable production quality. This latest season might not suit everyone’s tastes, but if one is craving a heavy dose of thoughtful, conversational fantasy, they will certainly relish it and its macabre plot twists.