‘Dragon’s House’: It’s Time to Jump, Wild Walk makes it fun to watch

By | October 21, 2022

The “Game of Thrones” spin-off, “Dragon House,” which wraps up its first season on Sunday, is sometimes like, “Oops!” All ‘Baelors’.”

“Baelor” was the episode of the first season of “Game of Thrones” above all that reset the expectations of fans and made the show legendary. In it, the supposed hero of the series, Ned Stark (Sean Bean), waits to be killed, an unthinkable fate for fans who haven’t read the books. It’s done, it’s a world that shortens the lifespan of the people we root for, not only that, but it’s not just a world where no one is safe, it’s a world where morality doesn’t matter.

The success of “Dragon House” has seen the first nine episodes largely succeed creatively, ramping up the level of surprise and tension for a viewer familiar with the “Thrones” mode and playbook. . And the challenge he faces increasingly is delivering compelling and engaging plots without throwing too much at the wall that audiences eventually become numb to. For now, his first season has stayed on the right side of that line.

Consider the recent episode of “The Green Council,” the same spot that Balor himself did during the “Dragon” opener. Here, Alicent (Olivia Cooke) is constantly working and caring after the death of her husband King Viserys (Paddy Considine) and her one-time best friend, her true isolation as our point of view character. Heiress Rhaenyra (Emma D’Arcy). On scale and scale, Alicent’s perpetually spiraling journey surpasses anything the previous series has had so far in its run, but maintains a “Thrones”-y moral neutrality. On “Thrones,” Ned lost his life, but the pure-at-heart characters remained (although he played less and less among multiple families as the game progressed). Here, hundreds of years ago, we are fully in the historical world of the Thargen dynasty, which we already know from its members on the “thrones” in matters of royal hierarchy.

At issue, more than ever, is how the characters play the game, a realization the moment Alicent, the witch, allows herself to be recorded. In “The Green Council,” Alicent is terrified of the violence against the rightful heir, Rhaenyra (Emma D’Arcy), and the thought of keeping her relative (Eve Best) in prison to ensure Alicent’s son ascends to the throne. Alicent, seemingly uncomfortable with the ritual, is forced to react to an endless buffet of events, right up to the dragon interrupting her son’s claim to the throne when she offers her partner to bow her leg. (Often the show seems to reflect what it learned from the fan response to ‘Thrones,’ including the fact that dragons are generally popular. There’s more — a a lot of – Flight of the dragon on the “Dragon’s House”, this is undesirable!)

There are undercurrents of morality in which women, in particular, often suffer the fate of being powerless to change. On “Thrones,” Emilia Clarke’s Daenerys Targaryen sought to “break the wheel” of history. On “Dragon,” DRC and Cook’s characters are constantly being spun by him.

This focus is on how the women of Westeros face the various challenges of “Thrones” and the welcome wrinkle. But the team behind “Dragon” seems to be very concerned about the fans who remember the high points and the low points of “Thrones”. As if to defy the preoccupation of the past two seasons, there’s a singular focus on series politics. This means that the show has clean narrative lines, but at times it’s less tying down the drama. Daenerys’s quest for the throne is fueled by her birthright, but she is also faced with the power of her opponents and, at times, challenges unrelated to her claim. Rhaenyra and Alicent are a compelling pair of frenemies: one passionate, one icy, with diametrically opposed claims that both have the ring of truth. However, beyond two major time jumps, nothing has been done with the characters who are essentially non-sexual (especially in Ryan’s case) or, more often than not, their relative positions in the race for power.

The show could still expand, but this narrowness of purpose—telling a story that twists and turns within a tribe, with only glimpses of the world beyond the family tree—makes for a show with an entertaining verse. In a fairy tale that’s unmatched on TV now, but can feel cruel when you think about it for more than a moment. My hope for a second season, and a chance to breathe after “Dragon House,” is to pause in the rapid-fire plot development to let the consequences sink in and explore other corners of the world. Now we’ve established the world of the Targaryens where the reality of years passes in an awkward situation before suddenly rearranging itself. Now, at least for a win, viewers deserve a chance to savor the chaos of an episode before the next one hits us.

Category: tv

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