House of the Dragon hopefully sets up better things to come in thoughtful, slow new episode

As a longtime fan of George R.R. Martin’s “A Song of Ice and Fire” series, I’ve grown accustomed to the intricate political maneuverings and shocking twists that define Westeros. But this latest episode left me feeling a bit flat.

In simpler terms, the latest episode of “House of the Dragon” is more tranquil compared to the previous one. After the thrilling clash of dragons last week which resulted in a major character’s demise and another being seriously injured, we were anticipating another action-packed installment. However, it seems that this prequel to “Game of Thrones” thrives in scenes featuring character interactions rather than wars. I must confess, I was growing concerned about the waning excitement before last week’s episode, but if the series needs to take a break and gradually work towards another dramatic finale like “The Red Dragon and the Gold,” I am content with the progression.

I must admit, the fifth episode of season 2 was more toned down than usual for this show. Don’t get me wrong, there were some great moments, but the ending left me feeling flat and underwhelmed compared to previous episodes. And now, I’m starting to notice a pattern – a certain character named Daemon Targaryen seems to be the source of the issue. His presence in the show feels problematic and harder to ignore with each passing episode.

Let’s dive into the details, starting with the stuff I liked:

Welcome home, assholes

In my opinion, the opening scenes are the most impactful. After winning the Battle of Rook’s Rest, the Greens proudly display their conquest – the decapitated dragon head of Meleys – in King’s Landing. However, instead of inspiring awe and admiration from the people, the Green’s triumph instills terror. The smallfolk fear retaliation from Rhaenyra and attempt to escape. One onlooker exclaims, “They’re gods,” but Hugh Hammer replies, “They’re just meat.” By parading a decaying symbol of their supposed infallibility, the Greens risk shattering the illusion of their invincibility. This scene adds depth and foreshadows future events.

After that, the Green soldiers transport a covered stretcher with the remains of King Aegon in the Red Keep’s corridors. The monarch lies on his bed as maesters meticulously eliminate burnt armor fragments from his charred flesh in disturbing scenes that made me watch with my fingers shielding my eyes. Bravo to the special effects team. I’ve grown fond of Aegon and found myself fully engrossed during his scenes, despite him being silent throughout. The episode seems less engaging due to his prolonged unconsciousness.

Despite this, some progress is made. Aemond is selected to act as ruler in place of Aegon as he recovers. This proposal seems disastrous and likely is, but it’s an intriguing disaster. Initially, Alicent proposes her own name for the position, but she is rejected by all on the Small Council. Larys argues that going against Rhaenyra due to her gender and then installing a female regent of our own would not benefit our cause.

As Aemond takes his place at the table, with him seated at its head, Alicent’s gaze is met with a stark reminder of her insignificance. The men surrounding her, including her sworn sword Criston Cole – her friend with benefits, appear indifferent to her views. Later, Criston explains that he shielded her from the gruesome realities of warfare as dragons have entered the fray. This is yet another bitter truth Alicent must confront. Having dedicated herself to nurturing the upcoming leaders, she finds herself being sidelined instead.

A Song of Ice and Fire and Sexism

As a gamer, I’ve noticed an intriguing connection between two scenes in the show. In one, Alicent is faced with opposition during a council meeting at King’s Landing. In another, Rhaenyra encounters resistance from her advisors while trying to give orders on Dragonstone. The common thread here is sexism.

In King’s Landing, the sexism is more prevalent due to their emphasis on Aegon’s claim based on him not being a woman like his sister. This makes sense in their context. However, Rhaenyra acknowledges that her advisors have valid concerns regarding her military strategy skills as a woman since she wasn’t trained in combat like they were. Yet, she raises an interesting point: with decades of peace, most of them lack battle experience, so what sets them apart?

Afterward, Rhaenyra engages in a conversation with Ser Alfred Broome, a persistent adversary among her advisors. She sends him to Harrenhal to monitor Daemon’s activities. Surprisingly, they appear to come to an understanding, even though their relationship is marked by disagreements. The series isn’t implying that Rhaenyra lacks power over her subjects due to her gender; instead, it highlights the need for her to overcome assumptions and prejudices that wouldn’t be present if she were a man. This portrayal resonates with real-life experiences.

In a later scene, Corlys Velaryon, grieving the loss of his wife Rhaenys, encounters his granddaughter Baela. She comes bearing an offer from Rhaenyra for him to become the Hand of the Queen. Initially, Corlys is reluctant, yearning for solace and a chance to sail away. However, Baela, demonstrating more spirit than ever before, rouses him with a passionate speech. She argues that accepting this position would not only honor Rhaenys’ memory but also support Rhaenyra’s pursuit of the throne, which Rhaenys had given up on long ago. Furthermore, Baela reveals her intention to help Rhaenyra claim the throne, even if it means sacrificing herself in a fiery battle. Touched by their determination, Corlys and I are left in awe. He proposes making Baela his heir but she declines, recognizing her own unique path.

As a passionate gamer immersed in the intricate world of “Game of Thrones,” I believe one particular scene from this episode struck a deep emotional chord within me, showcasing yet another facet of sexism woven into the fabric of Westeros’ society. The male characters express their biases in various insidious ways. Larys Strong may use sexist rhetoric when it serves his strategic interests, while Criston Cole clings to outdated notions of chivalry and protecting women. Even Rhaenyra’s son Jace makes a flimsy argument that her gender prevents her from being a warrior queen like the legendary Visenya Targaryen – an idea rooted in ancient times.

In his lengthy experience, Corlys was deeply involved with a woman who held a near-regal position. He has largely surmounted the obstacles that once stood between them. However, my concern is that “House of the Dragon” may present a monotonous perspective on sexism, labeling all those who exhibit it as villains and those who don’t as heroes. Nevertheless, I believe this series offers more intricacy than such simplistic dichotomies suggest.

How do you solve a problem like Daemon?

For several episodes, there has been speculation about Daemon’s true intentions regarding the army he raised at Harrenhal. While some assume it was for his wife and queen Rhaenyra, others suspect it was for himself. In this scene, Daemon openly declares his plans to take King’s Landing by force and rule as king, with Rhaenyra as his queen if she chooses. However, the power would lie in his hands.

I won’t dismiss this development offhand. Daemon has harbored a strong desire for power since his expulsion from King’s Landing way back in the series premiere. Every move he’s made since then, including marrying Rhaenyra, the rightful heir, has been calculated to bring him closer to the Iron Throne. I believe he holds genuine feelings for her as well.

I take issue with the contrived challenges the writers are imposing on Daemon in this story. In the latest episode, Daemon collaborates with Willem Blackwood to quell House Bracken’s rebellion, who have pledged allegiance to King Aegon. Although Daemon refuses to incinerate the rebels using his dragon Caraxes, he instructs Willem to adopt hit-and-run tactics against them instead. However, Willem resorts to a ruthless approach by targeting Bracken women and children, sparking indignation from other Riverlords. They unexpectedly appear at Harrenahl under the cover of night to reprimand Daemon for his tyranny, swearing never to be led by someone like him again.

From my perspective as a devoted fan, it feels like an endless journey for Daemon Targaryen to truly make his mark after last week’s rampage through Crownlands and bolstering his forces. However, he stumbles upon a needlessly intricate plan in the Riverlands, which unfortunately leads him to face criticism from a group of lords disapprovingly shaking their heads in the darkness.

Daemon’s inability to progress despite his past accomplishments feels incongruous in this current situation. In the first season, Daemon boldly beheaded his disrespectful uncle-in-law in public. However, now he hesitates to carry out threats against traitors to the crown. In “Fire & Blood,” Daemon easily gathered an army at Harrenhal. Here, everything he attempts results in failure. I’m puzzled by the writers’ decision to portray Daemon as a weak and indecisive leader after previously showcasing his brutality and proficiency. It seems counterintuitive to present him this way if they want us to believe he poses a real threat to Rhaenyra’s claim.

Ending with a whimper

As a gamer, I can’t help but share my perspective on an intriguing turn of events concerning Jace. Tired of his confinement at Dragonstone, he decides to take action by mounting his trusty dragon Vermax and flying off to the Twins. His mission: to pave the way for Winter Wolves led by Cregan Stark, heading south from the North.

As a gamer, I found myself deeply engaged in the final scene between Rhaenyra and Jace. Their thoughtful conversation was intriguing, yet I couldn’t help but feel that the show could have ended on a more thrilling note. Together, they pondered over a potential solution: if they reached out to the children of minor Targaryen nobles who had married into other houses, perhaps these young ones would be able to form bonds with the riderless dragons residing on Dragonstone. This idea marks the beginning of the Sowing of the Seeds, an essential event in the lore. However, ending on such a note leaves me questioning if non-book readers will fully grasp the significance of this decision.

This episode avoids mishandling classic scenes like the premiere, but it doesn’t have any standout moments to begin with. It mostly lays the groundwork with some insightful commentary on sexism, though I’m not a fan of how they handled Daemon’s arc. Overall, it’s an average episode that pales in comparison to the rest of the season.

House of the Bullet Points

Daemon’s dream sequences continue. In this episode, he seems to have dream sex with his own mother, Alyssa Targaryen. For what that means, consult a Freudian.
We get a scene between Baela and Jace, who you will remember are engaged. They have decent chemistry, but I wouldn’t mind a bit more heat.
The one Riverlord calls out Daemon for having ordered the death of Prince Jaehaerys in the season premiere. I thought everyone thinks Rhaenyra did that; where did this guy get the idea that it was Daemon?
Hugh Hammer and his wife are among the many King’s Landing smallfolk who try to flee the city after seeing the head of Meleys, but Aemond has shut the gates to them. To be continued.
Mysaria dispatches a woman named Melinda into King’s Landing for some unknown purpose. She meets up with Dyana, the barmaid and former Red Keep staffer. To be continued.
Towards the end of the episode, Aemond approaches the Iron Throne during a thunderstorm, no doubt thinking about how good he’ll looking in it. His sister Helaena is on hand to ask if it was “worth the price.” Moody, I guess, but I wish there was more of a scene here. I believe this is the first time these two have ever talked to each other onscreen.

Episode Grade: C+

2024-07-15 05:43