House of the Dragon (HBO) - Season Two: A TV Review - The Game of Thrones Formula Still Works

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 3.5 out of 5 stars

My Recommendation: SEE IT. A top notch, if structurally flawed, production that features some fantastic performances and even more fantastic dragons.

Season two of HBO’s prestige fantasy epic House of the Dragon, the distant prequel to Game of Thrones, came to its conclusion this past Sunday night.

I have never read any of the Game of Thrones books, and that includes George R.R. Martin’s Fire & Blood, which is the foundational text for House of the Dragon. Despite my ignorance of the source material, or maybe because of it, I have enjoyed both Game of Thrones – up until its bungled ending, and House of the Dragon.

Do I understand anything that is happening or who the characters are? No, I do not. And yet, thanks to exquisite acting, production design, costuming and special effects, I am able to overcome my ignorance and get lost in the quality work being presented.

The two most notable things about season two of House of the Dragon are lead actress Emma D’Arcy, who gives a superb performance as Queen Rhaenyra, and secondly the bevy of CGI dragons that hover over all of the festivities, both literally and figuratively.

D’Arcy masterfully imbues Rhaenyra with such a palpable and vibrant inner life that she jumps off the screen even when she is doing little or nothing on it. Rhaenyra is a maelstrom of emotions in season two, as she grieves, rages, sulks and sneers, but D’Arcy contains all of it in a tightly wound package that only reveals itself through her piercing, soulful eyes.

D'Arcy is undoubtedly the straw that stirs the dramatic drink of House of the Dragon, but the work from the rest of the cast is often equal to her brilliance.

Olivia Cooke, who plays Dowager Queen Alicent – Rhaenyra’s childhood friend turned step-mother and now rival, brings an enormous amount of dramatic depth and emotional weight to her role which in lesser hands would have been light and wispy. Alicent goes through an extended existential struggle session in season two and it is never fails to be compelling.

The same is true of Alicent’s illicit lover, Ser Criston Cole – played by Fabian Frankel, who rises through the ranks of the King’s Guard all the way to the King’s Hand in season two, but who seems to be losing the entirety of his soul and is painfully aware of it. Frankel is shockingly good as Ser Criston and watching the light in his eyes slowly but surely go out is both riveting and heartbreaking.

Matt Smith does exceptional work as King Consort Daemon (Rhaenyra’s husband/uncle) despite his storyline being among the weaker threads of the season. Lost in a sea of dreams, nightmares and visions, Smith’s Daemon is still able to radiate with a venomous fury despite his lack of action and limited interactions with actual human beings.

Other notable performances include a fantastic Matthew Needham as the conniving Master of Whisperers Lord Larys, as well as Tom Glynn-Carney and Ewan Mitchell as royal brothers Aegon and Aemond respectively, who bring vim, vigor and venom to their portrayals of persistently petulant young adult rulers.

But the biggest stars in House of the Dragon are the dragons. I couldn’t pick them out of a line-up, but they all have specific names and distinct personalities and you can’t take your eyes off them when they’re on-screen and you yearn for them to return when their off-screen.

There is one big battle involving dragons in season two and it is absolutely spectacular. Astonishingly well designed and exceedingly well executed, it was the best action sequence I’ve seen in any medium this year.

Even when dragons aren’t fighting, they are such a captivating and menacing presence that it is a perverted joy to behold. Just a shot of a dragon walking out of the dark and into the light is a breathtaking spectacle. Trust me that when a dragon is on-screen you won’t be checking your phone or doom-scrolling Twitter…oops, I mean X.

As for the downside for season two of House of the Dragon…there were a few issues.

First off, the season, which is only 8 episodes, felt like it was poorly structured and both rushed and too slow. Some characters make dramatically untenable leaps in a short period of time, while others drag on in rather dull circumstances.

For example, the entire storyline of Daemon stuck in the witchy realm of Harrenhall brings the series to a screeching halt every time they cut to it. Daemon is maybe the most captivating character in the show and yet this season’s storyline morphed him into a dour insomniac and often-times a morose dullard.

The storyline involving the “small folk” – or regular people, while an important device in the long run, is often times excruciating in practice. None of the “small folk” are the least bit interesting and the time spent with them is tedious and dramatically impotent.

As for the poor structuring of season two, it felt like the season should’ve ended with the final shot of episode seven, and episode eight should’ve been the first episode of season three. I also would’ve liked to see Aegon’s dragon-riding rampage which was only briefly referred to in the season finale. Why not show the cruel and vicious Aegon using his massive dragon to be cruel and vicious to innocent people? It would help set the stage for season three and also drive home the point that dragons are weapons of mass destruction which unleash hell on earth.

But despite a few bumps-in-the-road, I did enjoy season two of House of the Dragon because it uses top-notch British actors and actresses – usually pilfered from the stage, and puts them in exquisitely made costumes on gloriously photographed locations/sets – or as I call it, the Game of Thrones formula. Oh…and it also helps that it gives these British actors and actresses believable CGI dragons to ride around on.

House of the Dragon will never hit the heights that its famous predecessor did in terms of cultural cache, which also means it’ll never stumble into the lows either, but if you want to see some quality television – which has become scarce nowadays, it is one of the better, if not the best, show on tv at the moment – which to be fair isn’t saying much but still…I liked it.

©2024

House of the Dragon - The Current Undisputed Fantasy TV Champion of the World

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 3.5 out of 5 stars

My Recommendation: SEE IT. A well-made, well-acted series that gets better as it goes along. The best of the current fantasy tv bunch.

House of the Dragon, the prequel to HBO’s massive hit series Game of Thrones, concluded its ten-episode first season on Sunday night.

My first impression of House of the Dragon was tepid, as I found its first episode to be rather middling, but I’m happy to report that as its first season progressed the show got progressively better.

The series is not as good as its esteemed predecessor, but it did benefit by being in direct competition against another much-hyped prestige fantasy tv series, Amazon’s The Rings of Power, which debuted a week after House of the Dragon.

The Rings of Power was an embarrassing, amateurish, unmitigated disaster, and by comparison, House of Dragons is absolutely stellar. House of Dragons defeated The Rings of Power like Mike Tyson obliterated poor Michael Spinks back in the day - by brutal first round knockout, and now stands as the current undisputed, undefeated Fantasy TV Champion of the World.

In our current art/entertainment destroying age where cultural/political issues such as diversity and representation rule the day and talent and quality are rarely considered, it can be easy to confuse competency with mastery. House of the Dragon is not a masterful piece of work, at least not yet, but it stands out due to the mere fact of its baseline cinematic competency.

For example, in the season one finale the closing scene is a joy to behold because it is so deftly written, directed and acted, something which never occurred in The Rings of Power.

In the scene, where Daemon brings tragic news to Queen Rhaenyra, there is no dialogue. The story and the drama are conveyed to the audience through visuals. It is a rather simple scene, but it is very effective because of its simplicity. And that level of simplicity is a sign of the director and producer’s confidence in their storytelling and their filmmaking, something that was very evidently missing in The Rings of Power.

The confidence and competency of the producers and directors of House of the Dragon, who put together the cast, writers, costume and set departments, is in stark (no pun intended) contrast to the hapless and helpless bunch of buffoons who ran the good ship The Rings of Power into the rocks. The writing, acting and filmmaking that elevated House of the Dragon are what you get when people know what they’re doing are in charge, and the two-bit, throwaway soap opera of The Rings of Power is what you get when Bad Robot interns trying to fill diversity quotas are at the helm.

To be clear, House of the Dragon isn’t perfect. For instance, the time jumps were often jarring and scuttled some dramatic momentum, and some narrative choices, like when Rhaenys fails to torch the Hightowers on coronation day, beggar belief as it was not only the most emotionally satisfying thing to do but also the most rational thing to do. But House of the Dragon captivates because it boasts both superb aesthetics, most notably the costumes and sets, and most importantly, sublime acting across the board. Paddy Considine, Matt Smith, Rhys Ifans, Emma D’Arcy, Olivia Cooke, Milly Alcock and Eve Best were all superb on the show.

Considine’s performance as the conflicted and often feckless King Viserys was a triumph and a testament to his abundant talent.

Matt Smith’s dark turn as rogue Prince Daemon revealed his impressive level of skill and craftsmanship.

The transition from young Rhaenyra and Alicent, played by Milly Alcock and Emily Carey respectively, to adult Rhaenyra and Alicent, portrayed by Emma D’Arcy and Olivia Cooke, could have been catastrophic, but went off without a hitch. Alcock’s growth into the role of young Rhaenyra was glorious to behold and when D’Arcy took over the role, she didn’t skip a beat. Carey struggled to captivate as young Alicent, so when Cooke took over the role it blossomed and became pivotal to the drama of the show.

Rhys Ifans and Eve Best as Ser Otto Hightower and Princess Rhaenys respectively, are two fine actors and their craftsmanship elevated their roles to glorious heights.

All of these actors and even all of the ones I haven’t mentioned, were vastly superior to the second-third-and fourth rate actors hamming it up on The Rings of Power. Which begs the question…why didn’t Amazon spend at least a little bit of their billions bagging big-time actors to fill their Tolkien fantasy world?

As for House of the Dragon, its first season ended on a dramatically potent note, and portends that the best is most definitely yet to come, which will no doubt generate excitement when season two comes around. By contrast, The Rings of Power stumbled and staggered through its flaccid first season and never generated any significant drama so it’s hard to imagine anyone but the most die-hard sycophants tuning in to its second season.

Game of Thrones, particularly its earlier seasons, was a truly masterful piece of television, and while House of the Dragon doesn’t measure up to that high standard, it is a faint enough of an echo of that glorious show to still be considered appointment viewing. There is definitely room for improvement, and hopefully season two can make that leap. Considering the arc of season one, I’m actually optimistic that House of the Dragon will grow to be even more worthwhile as it progresses.

©2022