House of the Dragonthe dragon prequel of game of Thrones he continues his narrative deviations so that the years go by faster than the episodes. The opportunity to draw swords and warm dragons?
THE FALLEN THRONE
After two first episodes conducted in drums, House of the Dragon confirms that he has launched a sacred challenge, which we do not know if the specificity of his first season will remain, or if it already serves as a more global note of intent. Ryan Condal and Miguel Sapochnik, in fact, opted for a narrative based on a game of complex ellipses. In three episodes, the viewer will have gone through almost twice as many years. A narrative orientation that raises questionsand if we note in each chapter a notable progression in dramatic intensity, this narrative architecture stands out as eminently singular.
Even more than in the previous weeks, the sudden changes in time imposed on the viewer give him the feeling that almost every scene represents a symbolic push, a extra notch in the mechanics of the civil war Arriving. This impression of fate is quite dizzying, as if, despite the evident good will of all the characters, or almost, the chaos to come was inextinguishable.
Will Viserys remain on his throne?
Because, and this is the beautiful paradox of the writing of this first season, if no protagonist pretends to be an altar boy, if everyone does their part and wants to get the most out of itwealth or possible validation, is not a character who really wants to play Westeros, or rather, not one who is still a true cynic, no one who seriously conceives that the tensions that are emerging will be able to bring down the Targaryen dynasty .
Consequence: the tragic slips into the smallest gap, but this disheveled rhythm almost condemns everything to a deceptive speed, from which one sometimes wonders if it will be possible to disengage, to find a more precise progression, a less “spectacular” but more moving dramaturgy. Some valuable clues are exposed in this 3rd episode of House of the Dragon.
And I did it all with matches
TWO GIRLS ONE THRONE
If the weather remains extremely sustained, this segment will be the occasion for several scenes that intelligently explore both the relationship between Rhaenyra (Milly Alcock) and Alicent (Emily Carey) and the evolution of each. While the respective ancestors have transferred their ambitions to the descendants, we are witnessing the inexorable decline of their friendship, who until then had been able to keep accents full of sisterhood. The equation is insoluble, just as the score each received is equally cruel.
One scene in particular highlights the dead ends that now constitute their immediate future, when Otto (Rhys Ifans) is fired by the king, who recently married his daughter. On the verge of leaving the capital, perhaps at the risk of never setting his eyes on Alicent again, he tries to open her eyes to the nature of conflict of loyalty and interests that is reluctantly related. In fact, even if she did not commit to plotting against the future queen, the latter would be forced to attack both Alicent and her descendants, to end the conflict that will soon threaten the race for succession.
And is this a good position, Hand of the King?
Rhaenyra, for her part, must face the emotional limitations of a father who is both too steadfast to forget that he is sovereign, and not a keen enough reader of Machiavelli to understand that his constant pursuit of justice is robbing him of precision. A kind of Louis XVI who would have exchanged his locks for modelshe is consecrated to his court as a man on the verge of collapse when, during the hunt which he himself has provoked for his own pleasure, he proves unable to finish his prey without help.
In game of Thrones, the tainted predatory appetites of an excessive king caused the throne to become vacant and a myriad of disasters. In House of the Dragonit is the opposite situation that allows ambitions to sharpen ecreate a bloodbath. Particularly well done is this idea of a mirror straight to the original series, without being fundamentally revolutionary.
A rustic décor, but full of charm
The character of Daemon is, since his first appearance, the most exciting, but also disconcerting the script has to do the math. With his air of rebellious peroxide, the prince could have transformed into the cardboard Nero, joining the cohorts of throne-less candidates, plotting crudely in hundreds of productions in search of antagonistic grimaces. But both Matt Smith and Condal made sure to add a much more engaging and complex personality to him.
Driven by a deep taste for provocation, passionate about fighting and fantasizing about conquering the Throne, Daemon is no real threat to the other members of his family. We know from the first glance exchanged between the azimuth uncle and the niece promised to an eventful kingdom, the prince feels a deep loyalty to his lineage, a fortiori towards Rhaenyra.
Great pollution spike on the outskirts of Dragonstone
Their relationships carry the colors of George RR Martin up high. All in bombast, perversion and playing with the limits, they also benefit from a quality of writing and a superficial incarnation that make it one of the compelling interconnected among the many intrigues of this start of the season. Proof that HBO thought about his shot, the duo of these Targaryens on the verge of a nervous breakdown look nothing like a repeat of the Lannisters of yesteryear.
Disturbing and vectors of brutality, no doubt, Rhaenyra as well as Daemon are above all two complex souls, tormented in their rise to power as well as in their eventual renunciation, perpetually overwhelmed by their feelings. But they don’t just sing fleurette in the windows of our silent melancholy. The Demon is also there to fart the crab.
“What bad wind brings you?”
Through its eight seasons, game of Thrones it will have established itself as the only series of its time capable of offering the general public a spectacle that rivals the fierce competition of blockbusters destined for the big screen. By dint of colossal investments and above all of an absolutely remarkable reflection upstream of the shooting, which has become, so to speak, anachronistic in Hollywood, the series has managed to pack phenomenal rides. Blending hard sets, models, digital imagery and ambitious stunts, HBO’s flagship product will have been the breeding ground for the epic TV shows of the 2010s.
With the announced competition of the Rings of Power, House of the Dragon could not be left behind, and it is therefore with appetite that this third episode leaves the keys of the dragon of Daemon on the occasion of its climax. The opportunity for a technically flawless battle scene, which mixes pieces of courage, dragonism and courage. The set obviously feels like a show of strengthbut behind the raw show there is also the need to cast Daemon as a skilled fighter, as well as a kamikaze strategist, capable of reversing the outcome of a battle through sheer audacity.
Perceval the Gregeois
What to lick your fingers, so much the series manages, quickly, to impose a sustained pace, complex characters and the pyrotechnic flights of its major. Now it has two major projects to be able to transform the process and passes from classy entertainment to essential ritual vision.
On the one hand, history will soon have to find its cruising speed and center of gravity, so that it no longer depends solely on sudden ellipses to keep our curiosity awake. Second, it must rapidly vary the range of its protagonists. This is his only real flaw in this phase of hostility, the chronicle of the destinies of the crowned heads not being able to make us see or hear the life of Westeros as a whole, while the character gallery still lacks eye-catching second knivesable to push the intrigues and our emotions beyond the mere clashes of the courtiers.
A new episode of House of the Dragon is available every Monday on OCS starting August 22, 2022