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House of the Dragon abandons its source material in setup-heavy season 2 finale

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House of the Dragon abandons its source material in setup-heavy season 2 finale

As a longtime fan of George R.R. Martin’s works and a connoisseur of complex, nuanced storytelling, I must admit that this week’s episode left me feeling a tad disheartened. It seems to me that House of the Dragon is inching ever closer to the simplistic, black-and-white narratives it initially promised to avoid.

We’ve concluded the second season of ‘House of the Dragon’, and I find myself compelled to express some thoughts. Despite the impressive production quality and aesthetic appeal of the final episode titled “The Queen Who Never Was”, there are a couple of significant issues that I can’t help but address, one related to structure and the other to theme.

Initially, the structure of “House of the Dragon” Season 1 has been criticized by some viewers as being too slow-paced. While I personally found it engaging, I can understand their perspective. The season finale left us anticipating a swift plunge into civil war, as Rhaenyra Targaryen seemed determined to seize or maintain the Iron Throne at any cost after learning of her son Luke’s demise. However, quite unexpectedly, the first episodes of Season 2 saw Rhaenyra actively working to prevent war. Despite our expectations, a significant battle, the Battle of Rook’s Rest, occurred against her will, and it was only when all other alternatives had been exhausted that she reluctantly allowed Rhaenys Targaryen to engage her dragon Meleys in combat.

In simpler terms, the series seems to be portraying characters who are hesitant towards unnecessary violence, yet the narrative progresses regardless of their efforts, making them seem more passive than active in driving the plot forward. The second season concludes with a foreboding hint of war approaching, but there’s a lack of actual confrontations between major armies like the Lannister, Stark, Tully, Hightower, and the Triarchy fleet. The only significant clash we’ve seen so far is the Battle of Rooks Rest, leaving viewers feeling that the show has built anticipation for exciting battles and payoffs, but hasn’t quite delivered on those expectations yet.

As a game enthusiast, it feels like the creators are playing a trick on us with how many threads they’ve set up without resolving them in this final episode. Rhaena Targaryen discovered a dragon in the Vale, but we’re left wondering what happened next. Otto Hightower, who I truly missed seeing these past six episodes, turned up as a prisoner in a cell, but there’s no clue about his journey to that point. According to reputable sources like Deadline, a major battle originally planned for season 2 has been shifted to season 3. If you’ve read George R.R. Martin’s book Fire & Blood, you know that significant conflicts are looming ahead. While I can’t verify the accuracy of Deadline’s report, it certainly feels like something crucial is missing from this season finale. I’d be much more content if House of the Dragon ended our long wait for season 3 with a jolt instead of more gradual development.

House of the Dragon review: Season 2 Episode 8, “The Queen Who Never Was”

While “The Queen Who Never Was” may not tell a cohesive story as a whole, there are certainly enjoyable moments scattered throughout. One of my favorites is Criston Cole’s speech about the impending doom facing his army. Though I often find him difficult to comprehend, his detached acceptance of fate struck a chord with me. In his words, “The dragons dance, and men are dust beneath their feet,” he expresses a resignation that, after a life filled with shame and confusion, death might even be a form of relief. When he looked up at Gwayne and inquired about his agreement, I was left with a sense of chill-inducing anticipation.

As a gamer immersed in this captivating narrative, this speech struck a chord with the grand themes of the series, shedding fresh light on Criston’s character for me. The show’s dialogue reminiscent of Shakespeare felt spot-on in this instance. However, at times, I found myself yearning for the characters to converse in plain, everyday language instead.

As a gamer, I found it quite satisfying when Alyn of Hull stood up to his long-neglecting father, Colys Velaryon, who for years acted as if we, Alyn and Addam, didn’t exist. It was nice to see him being treated more like actual sons now. Yet, I can’t help but feel that the show took too much time in setting things up, and perhaps we could have skipped a few scenes on Driftmark’s dock where Alyn remained cold and silent. Nevertheless, it was rewarding to witness Alyn finally unleash his pent-up feelings and pour them out on his father’s head like a long-overdue storm.

At Dragonstone, the freshly appointed peasant dragon riders are causing quite a lively turmoil, with Ulf White, in particular, acting recklessly as if power has intoxicated him. Interestingly, this follows his cowardly attempt to avoid participating in the Sowing of the Seeds just last week. The characters on House of the Dragon are typically somber and serious, so the presence of an overzealous character like Ulf adds a much-needed spark of energy. Placing him next to Jace, who harbors resentment towards Targaryen bastards being elevated to his rank, creates an instant comedic contrast. Ulf may be trouble, but he’s certainly entertaining trouble.

In a more lighthearted tone, I found it amusing that Tyland Lannister traveled to Essos for negotiations with the Triarchy. To win over Admiral Sharako Lohar (Abigail Thorn delivers an excellent performance; her YouTube videos have been part of my routine for years, so seeing her in a different role was initially surprising), Tyland was required to outperform her in a mud wrestling match – an unusual detail taken from “Fire & Blood” that I’m glad the show retained. It’s quirky and out-of-the-ordinary enough to be entertaining. Although Tyland’s scenes tend to be lengthy, they help alleviate the heavy, foreboding atmosphere in Westeros.

Alicent’s sacrifice

While each scene is well-executed, they don’t culminate in the intense, climactic moment typical of a season finale for a war drama. Instead, the episode features an extended dialogue between crucial characters, which leaves me with significant reservations. I find myself expressing my concerns.

As a devoted fan, here’s my take on paraphrasing the given text:

In the tale of “Fire & Blood,” Aemond desires his sister Helaena to join him in combat, riding their shared dragon Dreamfyre. Despite her being a peaceful spirit who dislikes such activities, she once loved flying with Dreamfyre prior to the tragic loss of their brother Jaehaerys. However, on the show, this aspect of her character seems to have been overlooked or changed for unspecified reasons. Be prepared for such inconsistencies.

As a game enthusiast, I find myself taken aback by the minimal screen time Helaena’s been receiving this season. I can’t help but wonder about her emotional journey following the loss of her son. Is she struggling to come to terms with it? How has this tragedy affected her bond with her daughter? These seem like compelling narratives to delve into, yet they appear to be overlooked.

Regardless, this situation compels Rhaenyra to seek Archmaester Orwyle’s assistance in secretly escaping King’s Landing and returning to Dragonstone. It seems there have been numerous characters moving between these two locations throughout the season, which is unexpected given the ongoing war and the naval blockade. The continuous travel has become almost laughable by now. This episode highlights this absurdity as it shows Aemond prohibiting anyone from departing via boat, but Alicent still manages to do so.

In a manner that seems somewhat forced to me, let’s move forward with it. Alicent eventually reaches Dragonstone and requests an audience with Rhaenyra. She expresses remorse not only for her role in sparking the war due to misinterpreting King Viserys’ last wishes, but also for the years she spent trying to undermine Rhaenyra at court. She elaborates on her actions, admitting that while she presented herself as pious and chaste, she was actually envious of Rhaenyra’s apparent freedom. She recalls their relationship from the latter part of season 1, highlighting their dynamic.

After understanding this about herself, Alicent finds the liberation to pursue her true desires: to help place Rhaenyra on the Iron Throne. She extends an invitation to Rhaenyra for a conquest of King’s Landing. Since Aegon is indisposed and Aemond is heading to Harrenhal to face Daemon, Helaena will rule over the city. Alicent plans to ensure the guards resist in order to keep control. With Rhaenyra on the throne, Alicent believes, the conflict will finally come to an end.

In a difficult turn of events, Rhaenyra firmly believes she must execute Aegon to legitimize her rule, an action that deeply pains her. Despite this, Alicent concurs. The story concludes with her gazing out at the distance, returning to the city to fulfill her pledge.

Points of view

As a gamer putting myself in the shoes of a Westeros strategist, let me express my initial concern: Alicent’s strategy appears somewhat puzzling to me. Rhaenyra isn’t seated on the Iron Throne currently, yet a war persists. If we consider that she’d take over King’s Landing, wouldn’t it make more sense for the conflict to escalate rather than deescalate? After all, her main adversary is ruling in absence, not Rhaenyra herself.

In a different wording: Alicent’s actions might be seen as a desperate measure, and they may not necessarily need to follow a logical sequence. However, my main issue is that the presentation of this scene oversimplifies the narrative. One of George R.R. Martin’s strengths lies in portraying every character, even those who perform abhorrent actions, as heroes in their own minds. This is likely why his characters from the “Song of Ice and Fire” series have become so iconic, as he tells their stories without passing judgment. Recall the various factions on “Game of Thrones,” where people supported Jon Snow, Robb Stark, Daenerys Targaryen, and Stannis Baratheon, to name a few. Even Cersei Lannister, who committed heinous acts in pursuit of power, had her supporters. The conflicts often hinged on differing perspectives rather than right vs wrong.

As a devoted fan, I must say that “House of the Dragon” has definitely taken a stance in its narrative. During their dialogue, Rhaenyra accuses Alicent of being portrayed as a villain in the future, which I believe is a nod to George R.R. Martin’s book “Fire & Blood,” where characters are depicted in a historical context. However, from my perspective, Alicent, as portrayed in the book, wasn’t a villain for me. Instead, she was a character with desires, aspirations, and needs that clashed with those of Rhaenyra, leading to their conflict. It wasn’t about who was right or wrong; they were both ensnared in their unique viewpoints, which I believe mirrors real-life conflicts effectively.

In the series ‘House of the Dragon’, Alicent expresses remorse for her actions and acknowledges that Rhaenyra would make a superior ruler. Her conviction is so profound that she’s prepared to give up her sick son’s life in exchange. This act is portrayed by Rhaenyra as a just trade, “a son for a son”. It’s important to note that Alicent’s grandson was previously murdered at Daemon’s command, one of Rhaenyra’s allies this season. Despite Daemon’s violent past and potential proximity to power under Rhaenyra, Alicent seems unphased by this fact.

that a Targaryen ruler would prevent calamity for the Seven Kingdoms. While this idea seems logical to Rhaenyra (the show has effectively conveyed this), one might question its validity from an external perspective. Alicent, who knows something about this prophecy, could potentially view it as the delusions of a fanatic with messianic tendencies. The tension between these contrasting viewpoints is part of what makes George R.R. Martin’s work so intriguing, but it appears that “House of the Dragon” might be oversimplifying the portrayal of Rhaenyra as virtuous and her opponents as corrupt and misguided.

In the storyline, Alicent and Daemon have been at odds with Rhaenyra for quite some time, but the second season has revolved around altering their views towards her. Similarly, Daemon initially aimed to gather an army and seize King’s Landing for himself; however, his stay at Harrenhal has prompted much introspection, aided by eerie visions from his past. In this latest episode, Daemon experiences a vision of Rhaenyra being enthroned with divine radiance, which serves as the decisive moment inspiring him to reaffirm his loyalty and support for her and her ambitions. This marks another instance in the narrative where an individual who could have been at odds with Rhaenyra undergoes a change of heart, effectively seeing the light.

This feels like right-vs-wrong binary storytelling to me, which I find much less interesting, engaging, and true-to-life than a story about people with different perspectives coming into conflict with one another. That’s probably why my favorite character all season has been Aegon Targaryen, who has done terrible things but who is also earnestly trying to prove himself as a warrior and leader. He’s a bad son, husband, brother, and father, but he’s in earnest pain, emotionally over losing his son and literally since the Battle of Rook’s Rest. There’s light and dark warring in him, whereas a lot of other main characters are treated like converts or heretics.

Discussing Aegon, he escapes King’s Landing accompanied by Larys Strong during this installment, to avoid the anger of his brother Aemond and perhaps reappear after the war ends, aiming to resume his role as Aegon the Rebuilder. This implies that Alicent’s pledge to sacrifice Aegon is hollow, as it’s clear she can’t carry it out. Occasionally, I wonder if this series deliberately minimizes conflict for the sake of drama. After all, a lack of conflict isn’t typically beneficial for a storyline focused on tension and intrigue.

After finishing and enjoying “Fire & Blood”, it’s challenging for me to maintain an unbiased perspective. I’m eager to know if the events in this episode were well-received by those who haven’t read the book. This episode left me uneasy, and I’m apprehensive about where the series might head next.

House of the Bullet Points

  • I liked the scene where Daemon recommitted himself to Rhaenyra, because who wouldn’t enjoy Matt Smith giving a rousing speech to his army and pumping his fist in the air crying “War! War!” And it was nice to see him and Rhaenyra reconcile. But I think the show cheated by giving him that vision, which included little snippets of stuff from Game of Thrones as well as a glimpse of Rhaenyra on the Iron Throne. He’s basically been divinely inspired by something outside the story, rather than motivated by something within himself.
  • At one point in Daemon’s vision, Helaena shows up and tells him that he has a “role” to play. In another scene, she tells Aemond his future, essentially spoiling his death scene from Fire & Blood. House of the Dragon has been criticized for taking away characters’ agency (for example, last season, Aemond’s dragon Vhagar chomped Luke of its own accord rather than on Aemond’s command). I saw this as an extension of that. Daemon and Aemond are painted as cogs in a machine rather than autonomous individuals carving their own destiny. I don’t like this angle. Too often, House of the Dragon seems less a story about people doing things and more one about things being done to them. Once again, this isn’t a good thing for a drama series, and it’s out of step with George R.R. Martin’s conviction that history (or at least fiction inspired by history) is moved forward by “great” men and women, rather than systems or patterns.

Episode Grade: C-

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2024-08-05 05:43

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