Like many across the various fandoms created in the wake of Game of Thrones, I was fully prepared to hate the iconic show’s prequel House of the Dragon. At the time of its announcement, I did not know more about the series other than that it was going to be adapting George R.R. Martin’s Fire & Blood, a long anthology of the House Targaryen (the series’ and the media’s favourite sexy incestuous house of monarchs). I chuckled with glee at the idea of this obvious cash grab after one of the largest fantasy phenomena’s potential implosion. Three years later, the first season has finished, and I couldn’t be happier to have been wrong.
The show grips you the same way that Game of Thrones first did, but with a strong improvement to the writing. Showrunners, Ryan J. Condal and Miguel Sapochnik, took special care and consideration during production to bring the show to life. Casting director, Kate Rhodes James, crushed it with this cast. Finding young actors that not only nailed their characters, but also looked similar to their older casted actors, and actors that look similar to the actors who play their characters’ parents. The world and family feel grounded with the cast and show the length of the house’s history. House of The Dragon tells a story that a new viewer to Westeros can jump right into to enjoy the characters and world without prior knowledge of Game of Thrones.
The writing team is led by Condal, Sara Hess, Charmaine De Grate, and Martin himself. Together, they craft a well-told story that brings in the parallel themes of godhood and mortality within the legendary family, while foreshadowing the dark and tragic comedy of this massive war that is about to begin next season. The writing is a massive step forward, with a far better portrayal of women and the trauma and atrocities that men put women through. The story shows how men have historically treated women as property and means to personal ends. However, the writers allow women to have power and become leaders in the narrative, instead of simple tools for progressing the story. The show unapologetically shows the pains women experience during childbirth without control over their own circumstances. It critiques how women are viewed under patriarchal power structures, with a story that is led by women.
Additionally, HBO took a stronger step in film ethics by hiring an intimacy coordinator, Miriam Lucia. Knowing that there was somebody working with the diverse cast to ensure everyone’s mutual consent and comfort is a notable improvement over the previous series.
The story, which spans a large number of years, handles short and massive time skips that build tension for the inevitable. Once the suspense does kick in, the scenes come alive. The dragons aren’t blasting the screen too much. There’s just the right amount of Fire and Blood sprinkled through the ten-episode season, allowing more time for the strongest part of the show, which is the cast. Where the original book reads like a textbook, the show creates a stronger story — touching on and adding to the novel’s captivating moments in the history of Westeros. The story here is even more immersive, without feeling like a grind to work through. Miguel Sapochnik and the writers worked with the actors to bring these characters alive and be a part of their creation and narrative.
The acting is a master class. There is no weak link in the large cast led by Paddy Considine, Emma D’Arcy, and Olivia Cooke. The entire younger cast — led by Milly Alcock and Emily Carey — in the first five episodes captured scenes as well, and better than the more experienced actors. Considine as King Viserys I sets the standards and tone for the cast in episode 1, earning the high praise of Martin himself, saying Considine’s portrayal of the king was better than the authors. Stealing the season with a scene of Considine walking to the throne showed that CGI cool dragons aren’t as captivating as technique and raw acting talent.
D’Arcy acted perfectly as Princess Rhaenyra, a princess in this world, while still being a strong voice in politics and character. D’arcy acts lower and keeps Rhaenyra more in control, rather than acting large and overwhelming. D’arcy nails unspoken and soft acting as well as delivering charismatic and chilling dialogue.
Matt Smith excels at the deadly Daemon Targaryen, the Rogue Prince, playing the ruthless sociopath, yet is still able to make us love him for his flaws and badassery.
House of the Dragon captures everything that fans missed with Game of Thrones and only excels. Even if you’re not a fan of the books and previous show, or if fantasy is not your go-to genre, House of the Dragon is a must-see. The acting alone is worth the watch, and the amount of fun the cast has together on social media sells the show even more. It’s a show that will be talked about and studied as another addition to the phenomenon of Westeros.
Score: 9/10
Teryn Midzain is an English Major with ambitious goals to write movies and a full-time nerd, whose personality and eccentrics run on high-octane like the cars he loves. More importantly, Teryn loves sports [Formula One], and doesn’t care who knows. When not creating and running deadly schemes in his D&D sessions, Teryn tries to reach the core of what makes the romantic and dramatic World of Sports, the characters and people that make the events so spectacular.
