Game of Thrones Prequel Soars Above Our Highest Hopes
House of the Dragon is NOT your parents’ Game of Thrones, that’s for sure. It begins in 122 A.C., about 200 years before the events of the original show, and follows the relatives of King Viserys I Targaryen (Paddy Considine) as they battle for the coveted Iron Throne. Marriages, children, marriages between children, battles, dragons, death, and… Feet? Oh, the feet.
The season consists of ten hour-long episodes, and can be pretty evenly divided into two distinct halves. In part one, we meet Princess Rhaenyra Targaryen (Milly Alcock), the only child of the King and recently deceased Queen Aemma Arryn, as a 15 year old girl, not yet named heir and free to roam King’s Landing. But she does not do it alone, Rhaenyra is often accompanied by Lady Alicent Hightower (Emily Carey), daughter of Ser Otto Hightower (Rhys Ifans), the Hand, a title denoting his rank as the King’s highest advisor.
Many watchers, myself included, were quick to note the romantic undertones between the girls. And to our delight, it was not just a possibility, it was a certainty provided by the young actresses who saw the potential and ran with it. It is a happy time to live in, youthful and full of light, but don’t forget it’s a Game of Thrones prequel, thus the glee is short lived.
Rhaenyra is named heir! Decades after her second cousin was passed over in favor of a male heir, a woman is now destined to sit on the Iron Throne. That cousin is the ever-brilliant, headstrong, stoic Princess Rhaenys Targaryen (Eve Best), known as Queen Who Never Was. Her character is a standout, even when compared to calculated Alicent and valiant Rhaenyra, and easily one of the top three elements in the show. Her loyalties and motivations shift, but you can always count on Rhaenys to deliver the hell out of a line and steal the show.
Though the watchers are safe at home to cheer on the young Princess slash new heir as she soars to power atop her dragon, Syrax, the Targaryen family is reluctantly supportive. Rhaenrya’s naming as heir divides the realm and sets off a chaotic train of events, seeing as they have never had a woman sit the Iron Throne before. From a civilian standpoint, this worry is understandable, in a medieval way. But we see the nuts and bolts of the monarchy, and know that it is still men pulling the strings, really. The Hand is a man, as are the other advisors, the knights, the various lands’ Lords and their heirs. It is a fictional world built almost entirely around upholding the patriarchy, so maybe a world not so fictional after all.
But this win is short-lived, as King Viserys must remarry. How bad could that be, you might ask? Let me set the scene: Rhaenyra stands tall in the Council room, nothing new. The Hand, for once, seems to be at peace, leaving the audience gripped with apprehension. And the King is about to reveal his future wife’s identity. Blue dress, red hair… Red. Hair. Rhaenyra’s best friend/crush/childhood companion, Alicent. What deception, what deviousness! It is easily one of the most heartbreaking scenes, even in a show so saturated with death and destruction.
For episode 3 (“Second of His Name”), House of the Dragon completes another time jump, about three years forward. Rhaenyra’s loneliness is palpable through the screen, she is solemn always and rarely smiles, though we do see glimpses of her past wonder and free spirit when she converses in High Valyrian (a fictional language, ancient within the GoT universe) with Prince Daemon Targaryen (Matt Smith), her uncle. Alicent is now Queen and about to give birth to her and the King’s second child, the first of which was Aegon, a boy. Finally, a real competitor for Rhaenyra in the battle to ascend the Iron Throne. He is a threat simply in the patriarchal sense, as we will quickly find that Aegon ages but never actually grows up. This is where the real meat begins, the dynamics have been laid out, now we are to walk the path.
Throughout episodes 4 (“King of the Narrow Sea”) and 5 (“We Light the Way”), Rhaenyra is tasked with marrying to secure her position as heir, and though she rejects almost all of her suitors, one does eventually stick. Ser Laenor Velaryon (John Macmillan), heir to Driftmark, a coastal stronghold, and son of Princess Rhaenys and Lord Corlys (Steve Toussaint). It seems a good and promising match, although with one fatal flaw: Laenor is gay, an open secret in Westeros.
But they go through with the wedding despite, and at their celebration, we see that the foundations for the second half of the season are built: blossoming romances, burgeoning enemies, and all. The iconic rivalry of the Greens (Hightowers, Alicent and her children) versus the Blacks (Targaryens, Rhaenyra and her children) is established the second the hall doors open to reveal Queen Alicent, recently provoked by the replacement of her father, the Hand, by Ser Lyonel Strong (Gavin Spokes), in a breathtaking green dress, signifying her motivations and intensities in a so classically Game of Thrones manner. It is a moment that reminds us why we love this show so much, and why it is undoubtedly one of the most iconic and brilliant fictional universes of all time.
A tonal shift is looming, as it always is whenever a satisfying scene is given to the viewers. A violent fight breaks out between Rhaeynra’s scorned ex-lover and personal guard, Ser Criston Cole (Fabien Frankel), and Laenor’s lover, Joffrey Lonmouth (Solly McLeod), which ultimately results in Joffrey’s death and Laenor’s devotion on full display as he sobs and lays his own body over his lovers. No soundtrack plays, and no one, character and watcher alike, dares make a noise as the camera lingers on two lovers entwined, red blood and hot hatred coursing through the room.
Episode 6 (“The Princess and the Queen”) changes everything, we are ten years ahead, and the character list, played by an almost entirely new cast, has expanded by leaps and bounds, with eight new members in the form of the next generation. Queen Alicent (Olivia Cooke) and King Viserys have completed their family unit, consisting of Aegon (Tom Glynn-Carney), Helaena (Phia Saban), and Aemond (Ewan Mitchell). Prince Daemon has married Laena Velaryon (Nanna Blondell), daughter of Princess Rhaenys and Lord Corlys and Laenor’s twin sister and fathered two girls, Baela (Bethany Antonio) and Rhaena (Phoebe Campbell). Laena’s death at the end of episode 6 is the biggest flaw in House of the Dragon, though it is an imperative choice for the flow of the show, it is still disappointing to see such a promising character go out in a blaze of her own dragon’s fire.
But that’s all background noise to the character we all know, love, and are so wholeheartedly invested in. Princess Rhaenyra Targaryen, long may we dwell on her greatness, is now played by the brilliant Emma D’Arcy, whose performance is so stunning and subtle, so wholly Targaryen, it baffles you as to how they had never watched Game of Thrones, this is simply all them. Cue the Emmy bells!
But where is Rhaenyra? She’s having a baby! Her third, in fact. Her first two, sons Jacaerys (Harry Collett) and Lucerys (Elliott Grihault) Velaryon, don dark brown hair and pale features, reflecting neither Rhaenyra nor Laenor. Joffrey, another son, seems to hold these same physicalities. Queen Alicent (Olivia Cooke) demands to see the child, who is brought to her by Rhaenyra and Laenor. As Rhaenyra briefly rests in the background and Laenor is holding the baby, we hear the first of many deliciously snide one-liners from Alicent. “Do keep trying,” she says, “soon or late, you may get one who looks like you.”
Upon seeing Ser Harwin Strong (Ryan Corr), a high-ranking knight and son of the Hand, it is clear he is the biological father to Rhaenyra’s three sons. When Ser Criston provokes Harwin by insinuating that Rhaenyra’s children are bastards, a true statement but one never to be verbalized, Harwin fights back with fury. This act, though tough and righteous, pushes his father to attempt to resign as the Hand, which King Viserys rejects. Alicent expresses disappointment at this to Ser Larys Strong (Matthew Needham), Harwin’s brother and the Hand’s other son, who takes matters into his own hands. That is to say, he employs criminals to set fire to Harrenhal, his brother and father’s home, resulting in both of their deaths. Otto Hightower returns as the Hand, and Alicent now owes Larys a debt. Rhaenyra, deeply shaken by this, moves her family, along with Laenor’s lover, Ser Qarl Correy (Arty Froushan), to Dragonstone.
Episode 7 (“Driftmark”) brings everyone to Driftmark for Lady Laena’s funeral, the first time the cast is all fully present since the time jump. Rhaenyra and Daemon take no time to consummate what’s been a long time coming. (Yes, her uncle. Let’s not talk about it.) Turning to more pressing elements, Laena’s colossally large dragon, Vhagar, is up for claiming, and Aemond Targaryen takes no time in doing so. Rhaenyra’s sons and Daemon’s daughters find him exiting the dragonpit and an altercation ensues, resulting in Lucerys slashing Aemond’s eye out.
The family joins together to find due punishment for the act, and the scene is a standout, of course, but it comes to its fullest, most fruitful when the angered Alicent takes the King’s dagger and charges at Rhaenyra. The women have not been this close, in love or hate, since childhood, and seeing them return quite literally into eachothers arms in such a manner is enough to drag a whispered declaration from Rhaenyra, “Now they see you as you are.” Alicent is disturbed, destroyed, distraught and drops her hand, in the process slashing Rhaenyra’s arm. We later see the scar, and are all over again made to ache over what their relationship has come to.
Episode 8 (“The Lord of the Tides”) begins six years after the previous, at the end of which Rhaenyra helps Laenor fake his death and escape with his lover so she may freely marry Daemon in an old Valyrian Dragonlord ceremony. The purely Targaryen couple has already produced two white-blonde children. The entire plot of the show now centers around succession: who will rise to the throne when the decrepit King Viserys finally kicks the bucket. To further secure her position, Rhaenyra engages her two eldest sons to Daemon’s daughters with Laena. Her second son, Lucerys, is also named the heir to Driftmark, a vital territory.
The episode is a true testament to the love shared between Rhaenyra and Viserys, a callback to their relationship earlier in the season. Time and time again he defends his daughter against the Greens, even going so far as to attempt to reconcile the opposing sides over a dinner party. At said dinner party, all family members present, there is a distinctly harsh dynamic between Rhaenyra’s sons and Alicent’s Aemond. It culminates in flames when Aemond makes a toast, “I have never known anyone so strong as my sweet cousins. So let us drain our cups to these three strong boys.” I’ll let you guess which adjective he emphasizes…
It seems as though the Greens have lost any claim, as Viserys is adamant Rhaenyra is the heir, and as long as he is still alive, his word goes. But as the episode winds to an end, out-of-luck Alicent comes into gold. On his deathbed, Viserys, believing he is speaking to Rhaenyra, mentions King Aegon I Targaryen’s Dream of Ice and Fire. In episode 1, Viserys had told Rhaenyra the dream, saying Aegon, “foresaw the end of the world of men. It is to begin with a terrible winter, gusting out of the distant North. Aegon saw absolute darkness riding on those winds and whatever dwells within will destroy the world of the living … if the world of men is to survive, a Targaryen must be seated on the Iron Throne.”
Alicent, not knowing her identity to be mistaken, takes this as his final wish being that her son Aegon ascends to the throne. So strong is her belief, and so convincing is Olivia Cooke’s performance, that it is hard to villainize her, the surface-level antagonist. You empathize with this woman who has never had her own life, love, or body, who has never been able to be just a girl or woman, only ever a mother, wife, and queen.
Episode 9 (“The Green Council”) is dedicated solely to the Greens, as it follows Alicent as she attempts to place her son on the Iron Throne, though he does not want it. Aegon is useless, to put it nicely. He gambles and cheats on his sister-wife, even fathering bastards whom he makes fight in a club he owns. He cares neither for politics nor power. Rhaenys is held captive in King’s Landing, and is brought to the coronation of Aegon only to disappear. Alicent is pleased, she mourns her husband but basks in the glow of security and completion of, what she believes, was his final, dying wish.
But it is never that easy, especially for Alicent, a character repeatedly made to jump through hoops to get anything at all done. The standout scene, and not in a good way, in this episode is just that, Alicent doing some pretty disturbing things for information. She and Larys are sitting opposite each other, and he begins to tell her about a new, rapid spy network in King’s Landing, she slowly undresses her feet. First shoes, then socks, and finally, to get the full story, Alicent reveals her toes and places them on the table for Larys and the audience to see. Foot fetish was most certainly not on my House of the Dragon bingo card.
The Coronation is freshly complete, with Aegon sworn as the seemingly rightful King of the Seven Kingdoms, at least to the masses. The Greens finally exhale, then a dragon bursts through the floor. It’s none other than Rhaenys on Meleys, white-haired woman on a deadly dragon staring down the Greens. Alicent, in her final scene in season 1, places herself in front of a crowned Aegon, ready to meet her end, though Rhaenys spares them by flying away. For someone who had been so seemingly ornamental at the beginning of the show, it felt only right and cathartic for her to end on such a meaningful note.
Episode 10 (“The Black Queen”), the finale, shifts to the Blacks in Dragonstone. Rhaenys arrives to notify a pregnant Rhaenyra of her father’s passing and the Greens usurpation of the Iron Throne, causing her to go into premature labor and deliver a stillborn child. She weeps as she wraps the body, but comes to power when, at the end of the baby’s funeral, she is presented with a crown and all in attendance kneel to her as Queen of the Seven Kingdoms.
The episode proceeds with Daemon urging war against the Greens and Rhaenyra resisting, instead favoring to gather allies and force a concession. Otto Hightower visits Dragonstone, during which Rhaenyra strips him of his Hand pin. Her moment of strength is cathartic and justified, but Otto has not come empty handed, as he presents Rhaenyra with a gift from Alicent. Now hold on, because this one is a doozy. It’s a callback to their childhood companionship, a page ripped from a book which Rhaenyra gave to Alicent with the sentiment, “So you remember.” Rhaenyra sheds tears, and the audience along with her. Their relationship, ever complicated and agonizing, is so present here. You feel the tenderness of their youth, the opposition of their adulthood, and now the confusion of their hatred. How did we end up here?
All is peaceful, until it isn’t. Lucerys, Rhaenrya’s son, encounters Aemond, Alicent’s son, as both attempt to win the allyship of Lord Borros Baratheon (Roger Evans) in Storm’s End. Aemond, in a moment of rashness, demands an eye from Lucerys in exchange for his own, taken years ago. Lucerys flees on his dragon, Arrax, but is easily followed by Aemond on the much larger and more mature Vhagar.
After a while, it seems Lucerys and Arrax are out of the woods, but both dragons resist their riders when Arrax breathes fire at Vhagar’s head, angering the latter who bursts out of clouds to rip Lucerys and Arrax in half. Cinematically, it is a standout shot, pearly dragon wings torn and fluttering through the sky, you can hear the crinkles of them floating downwards. It cuts to a disturbed Aegon, knowing all hell is about to break loose. Daemon tells Rhaenyra, who silently turns away from the fireplace to Kubrick-stare the camera down, absolutely bone-chilling and a side of her we have never seen before. It is a quick shift for the audience, dumbfounded to in shaken awe of the sheer power Rhaenyra portrays through the screen.
The show is like no other, incomparable to Game of Thrones in terms of writing, directing, and pacing, which turned out to be the secret to success. Its predecessor was far slower and held such a large and equally important character list that it demanded the audience’s complete attention for all 70+ hours in its entirety. House of the Dragon is just as, if not more, critically acclaimed than GoT, and a far more digestible watch, perfect for anyone who wants high-profile, well-made medieval fantasy escapism, without an eight season commitment.
If you haven’t watched House of the Dragon yet, what the hell! Grab a friend, make Negroni Sbagliatos with prosecco, and tuck in for a streaming of the best show on television right now. You won’t regret it.
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