The House of the Dragon Season 2 Finale Gave Us Something Better Than a Big Battle

As a longtime fan of George R.R. Martin’s epic tales, I must say that this week’s episode of House of the Dragon was a masterful display of character development and emotional depth. Having witnessed the complexities of the Targaryen family dynamic unfold over the years, it is truly captivating to see how the relationships between these characters have evolved.

Warning: This post contains spoilers for the Season 2 finale of House of the Dragon.

In George R.R. Martin’s “Song of Ice and Fire” universe, the end of each season is marked by specific events. The television series “Game of Thrones” set a high standard with its premiere, concluding dramatically with the execution of Ned Stark, the secession of the North, Khal Drogo’s death, and Daenerys’ dragons hatching. In subsequent seasons, the final episodes typically featured battles, carnage, unexpected turns of events. “House of the Dragon” continued this trend in its Season 1 finale. Here, we find the aftermath of King Viserys’ demise, with Aegon II claiming a disputed Iron Throne, factions of Green and Black gathering their supporters, and Aemond’s dragon Vhagar killing Rhaenyra’s son Lucerys and his dragon Arrax.

In a departure from the usual, Sunday’s Season 2 finale lacked the typical grand, heavy-on-CGI battle sequences, instead offering combat enthusiasts the Battle of Rook’s Rest as an alternative. Unlike previous seasons, no significant characters met their end. I had speculated that Aemond, now the Greens’ regent, would engage in a sword fight with his older counterpart, Daemon (ignoring my intuition, it seems, since I haven’t read the books). However, I’m glad to confess that I was mistaken. Despite its chatty nature, this finale delivered some of the most intriguing plot twists, character developments, and fresh faces we’ve seen in the series so far.

For any fan of “Game of Thrones” who appreciated the bond between Jaime Lannister and Brienne of Tarth, they’re undoubtedly excited about the fresh duo emerging in the series – Tyland Lannister and Admiral Lohar, a powerful Triarchy commander portrayed by Abigail Thorn. Despite using male pronouns, this character is played by a female actor and has multiple wives. The narrative unfolds as Tyland navigates through Lohar’s favor, with the admiral testing him in unexpected ways. “Have you ever eaten the flesh of your enemies?” Lohar challenges. Relieved to find it was a jest, Lord Tyland soon realizes that Lohar is serious when he proposes: “I wish to have children by you.” Taken aback, Tyland questions the admiral’s intentions. “Indeed,” Lohar replies, “I want you to sleep with my wives.” As the season progresses, we may not immediately learn the number of wives Lohar has, but it’s clear that “Game of Thrones” could use some more eccentric characters, and this intriguing partnership between Lohar and Tyland is one of the most captivating developments so far.

Transitioning to intense plot developments, let me express my excitement over Daemon’s change of heart. Guided by Alys Rivers, his unique, forward-thinking spiritual mentor, he was prompted by a vivid vision. Instead of pursuing his plan to betray Rhaenyra and claim the Iron Throne, Daemon chose a different path. This shift is particularly striking as it showcases the first convincing use of the Song of Ice and Fire prophecy in Dragon. It seems that the harsh realities of dragon warfare made Daemon realize how insignificant his personal aspirations are compared to the fate of humanity, a future resembling a compilation of Thrones iconic moments. If only historical figure J. Robert Oppenheimer had such guidance. Previously portrayed as a wildcard, this season sees Daemon moving away from a predictable, misogynistic antagonist trajectory. By pledging allegiance to Rhaenyra, he not only deepens his character but also challenges Dragon‘s recurring narrative that paints being a woman as disadvantageous.

In the finale, the character development was truly captivating, particularly in one-on-one interactions. The conversation between Alyn of Hull and Lord Corlys, who remains reluctant to publicly acknowledge his sons born out of wedlock, was a standout. Alyn questions Corlys, “Do you know what hunger, grief, or shame can do to a boy?” In another scene, Rhaenyra asks Mysaria about the cost of war. Jacaerys, known for his brattiness, erupts at Ulf, a dragonrider who was once a barroom braggart. Lastly, it was heartwarming to see Helaena, once timid, boldly telling her brother Aemond that he would never be king and predicting his demise in a confrontation with the Blacks.

Of course, no tête-à-tête hit harder than Alicent’s climactic appeal to Rhaenyra. Fresh off last week’s head-clearing walkabout and free swim, it’s a contrite Alicent who arrives at Dragonstone ready to, as she puts it, “cast myself on the mercy of a friend who once loved me.” Indeed, she says all the right things—that she was wrong to resent Rhaenyra’s freedom and to put her “faith in my husband, my father, my lover.” (Rhaenyra’s mock shock at the revelation that prim and proper Alicent had taken a lover is pretty delectable.) What’s more, Alicent assures her childhood playmate, “I do not wish to rule. I wish to live.” To that end, she’s here to tip off Rhaenyra that Aemond will soon depart for the Riverlands, leaving Helaena in charge of King’s Landing. With Alicent ordering the Kingsguard to stand down, “You will enter as a conqueror.”

Given her deep distress over the violence so far, Rhaenyra finds a peaceful resolution to the Dragon Dance as her preferred option. However, she’s not easily convinced by Alicent’s proposal. “It’s too late,” she states, recalling their past friendship: “Blood has been spilled, cities destroyed, armies mobilized. Now you want to disassociate from what you initiated?” Rhaenyra asserts that she can’t truly triumph without causing Aegon harm. “Choose,” she demands, “a son for a son.” When Alicent hints at persuading Aegon to submit, Rhaenyra pushes the matter. The condition of the deal being contingent on Aegon’s demise is a practical consideration, but in truth, a weakened Aegon poses little threat. Even Rhaenyra openly admits that she needs Alicent to feel the pain she endured with Lucerys’ loss (and more) to join her side. So, the cost of ending the war peacefully is another Targaryen life. Eventually, after some contemplation, Alicent agrees, trading her freedom to live a tranquil life with Helaena for the price demanded.

As a long-time fan of Game of Thrones and its prequel series, House of the Dragon, I must say that the scene between Emma D’Arcy as Rhaenyra and Olivia Cooke as Alicent was nothing short of brilliant. With my years of immersion in the complex world of Westeros, I found myself drawn into their tense interaction, feeling the weight of their lifelong affection and enmity. The dialogue between these two characters was not only layered but also deeply moving, as it mirrored the complex emotions that have built up over a lifetime.

In wrapping up Alicent’s journey, the episode concludes with an assortment of armies, fleets, dragons, and dragonriders preparing, embarking, and marching towards battlefields – possibly setting the stage for casualties in a deceptive ploy to install Rhaenyra as queen. Some viewers may find this outcome underwhelming given the promise of dragon battles and deaths, both of which appear imminent in Season 3. However, in my opinion, House of the Dragon delivered something more valuable this week – an aspect that distinguishes George R.R. Martin’s series from other fantasy shows when it’s at its most sophisticated and engaging. While it’s easy for productions with large budgets to create visually impressive digital violence, it’s the characters’ emotions, their regrets, and the development of their relationships that give this Targaryen conflict its emotional weight.

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2024-08-05 06:10