Caution: Spoilers included in this review
House of the Dragon, the spin-off akin to Game of Thrones, has finally commenced its long-awaited awakening. Up until this point, the second sequence of the show (showing on Sky Atlantic) has been met with lacklustre reviews and dwindling ratings in America, revealing a 20 per cent downturn compared to the maiden series in 2022. However, anticipating a resurgence, the show has showcased potential with its latest gripping rendezvous, suggesting this narrative of conniving royals and majestic dragons may at last be gaining momentum.
The events unfolded in House of the Dragon precede those in Game of Thrones by two centuries. The subsequent popular drama was heavily influenced by George RR Martin’s (still unfinished) Song of Fire and Ice series which commanded extreme popularity in pop culture during its time. The preceding narrative shows the imaginary realm of Westeros under the rule of the Targaryen lineage, distinguished by their blonde hair and pet dragons.
As we step into the second season, the royal “House” the title refers to is facing an internal decimation. On one hand, we have the Green faction, situated in King’s Landing, puppeteered by the ruthless King Aegon II (portrayed by Tom Glynn-Carney) with the backing of his mother Alixent Hightower (played by Olivia Cooke). Conversely, we have the rebellious Blacks, backed by Queen Rhaenyra (played by Emma D’Arcy), who considers herself the rightful heir.
[ House of the Dragon review: Complicated plotlines, incredible production, ghastly turns at every moment ]
The progression of the storyline up till this impasse has been time-consuming and critics voice that the lack of pace, excessive politics, and shortage of relatable, heroic personas may be its downfall. Such critiques carry weight as initially, Game of Thrones had enamoured audiences with affable central figures such as Jon Snow and Daenerys Targaryen. House of the Dragon, on the flip side, appears to be teeming with schemers, rogues and beasts, with or without smoke emission.
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The series has certainly upped its game as it turns up a notch. It all comes to a head at the heart-stopping end of the fourth episode as House of the Dragon unveils its major weapons on to the battleground. Dragons are what we mean by weapons, and these come in all sizes, engaging in fierce battles as if the survival of Westeros and their very lives hang in the balance, which they unquestionably do.
Game of Thrones initially won over critics with its high-ranking intrigue and bountiful roster of odious figures conceiving malicious plans in poorly illuminated quarters. However, for many, it was the monumental events that stood out and these are what we remember today. Moments like the Night King’s face-off with Jon Snow post the Battle of Hardhome, Ramsay Bolton being served to canines post the Battle of the Bastards, and the entrance of Daenerys and the Dothraki mass over the hill, setting the Lannister army ablaze. These were the scenes from Game of Thrones that exceeded TV’s historical constraints and offered genuine movie-like adrenaline, competing equally with the top fantasy offerings on cinema and in literature.
Caution, spoilers are ahead. To date, House of the Dragon has been rather cautious, largely playing it safe. Recognising that it was the double-crossing that lent authenticity to Game of Thrones in the first place, it has veered towards Machiavellian narrative arcs and excessive brutality (even seeing the murder of a newborn in their crib just some weeks ago).
But it’s in the fourth episode that the series really lets go, rewarding its viewers with a rousing climax comparable to Hardhome. As the Greens and Blacks position themselves for the impending conflict, an intoxicated Aegon II escorts his dragon, Sunfyre, to Rook’s Rest, a stronghold under attack by forces loyal to the Blacks.
Princess Rhaenys (played by Eve Best), an ally and guide for Rhaenyra, and her own dragon, Meleys, speedily arrive to challenge Aegon. But their clash is abruptly interrupted by a third dragon, the enormous Vhagar – a beast bigger than both Sunfyre and Meleys combined.
The character in question is Prince Aemond, whose role is brought to life by Ewan Mitchell. Aemond is the younger brother of the irresponsible King Aegon II. Many would argue, Aemond included, that he would indeed make a more suitable leader. Vhagar, while under his control, has caused destruction to both Meleys – an enemy and Sunfyre – a so-called ally. The fate of Rhaenys, Sunfyre, and Aegon II after they are enveloped in a fireball and descend towards the ground, remains ambiguous.
For as long as it’s been told, fantasy at its finest has had a powerful capability to invoke a strong sense of thrill and fascination. It’s this very charm that has seen continual admiration for JRR Tolkien’s work and has led to his successor, Brandon Sanderson, becoming one of the best-selling authors globally. The latest House of the Dragon appears to sustain and amplify this magical allure. Following an initial gradual progression, the show surprises with an impeccable scene that is delightfully memorable. Enthusiasts anticipate that the upcoming episodes will deliver more of such spectacles.
House of the Dragon broadcasts on Sky Atlantic at 21:00 hours.