House of the Dragon Has a Prophecy Problem

As a long-time fan of George R.R. Martin’s epic saga, I must confess that I’ve been feeling rather conflicted about House of the Dragon, the prequel series based on his Fire & Blood. Don’t get me wrong; I love a good prophecy as much as the next fantasy enthusiast, but there comes a point when it starts to feel like the characters are dancing to the tune of some cosmic puppeteer rather than making their own choices.

Spoilers for House of the Dragon season-two finale “The Queen Who Ever Was” below.

In the concluding episode of “House of the Dragon,” I found myself yearning for more impactful closure. Certain moments did capture the grandeur one expects from an HBO Sunday night drama, but they seemed better suited as stepping stones towards future developments rather than climactic finale events. The central relationship between Alicent and Rhaenyra remains compelling, and we witnessed Alicent and Rhaenyra’s dynamic once more, reminding viewers of their connection that we deeply care about.

In the midst of a writers’ strike, season two was made shorter and contained only eight episodes instead of the intended ten. This might explain why some viewers find it less satisfying compared to other seasons. The decision to reduce the number of episodes was more about crafting the narrative effectively rather than cost-cutting measures. Upon watching the season, it appears that the show didn’t end prematurely before a major, expensive climax, but rather, the storyline may have been adequately concluded within the given number of episodes.

Beneath its elaborate layers, “House of the Dragon” struggles with a deeper problem that causes its wandering direction this season. It seems unable to move beyond the shadows of “Game of Thrones.” The series, despite being set two centuries apart, frequently delves into rehashing connections between these Targaryens and their ancestors. At times when it manages to step away from the impending winter narrative, the show finds its footing and presents conflicts that resonate deeply. However, sooner or later, someone reminds others of the “Song of Ice and Fire” saga, and the momentum is lost. This issue has consistently plagued “House of the Dragon,” but the season-two finale offers the most glaring (and arguably excessive) demonstration yet, raising questions that ought to have been answered by this point, such as:

Why does any of this matter?

In the season-two finale of House of the Dragon, there are two instances where Alys Rivers guides Daemon into a chilling courtyard at Harrenhal. First, she poses a question about his readiness and then reveals to him a prophetic vision. This vision illustrates why Daemon should pledge allegiance to Rhaenyra instead of mobilizing his own army. Importantly, this vision is not connected to the current situation or characters on the show. Instead, it offers glimpses into events that will transpire 200 years later, scenes that House of the Dragon viewers are already familiar with. Among these previews, we catch a glimpse of the White Walkers and Daenerys sitting in the desert with her baby dragons. The intention is to emphasize that Daemon’s actions play a crucial role in shaping the destiny of the realm.

The outcome contradicts everything we’ve seen so far. The prophecy suggests that all actions are insignificant since the future has already been set. A second prophecy is introduced later, where Helaena tells Aemond he’s in trouble and there’s no way out. This reinforces Aemond as a tragic, doomed character, but in a world where outcomes are predetermined, prophecies hold little weight other than telling viewers who is correct and who is wrong. Rhaenyra’s actions can be justified because she needs to rule, according to the prophecy, but Daemon’s ambitions mean nothing since what truly matters is this predestined future. All the tension revolves around something no one in this story will survive to witness.

Why are any of these people acting this way?

Over several episodes, Daemon has been secretly loitering at Harrenhal, occasionally indulging in hallucinogens provided by Alys Rivers. This prolonged period has fueled his growing ambition, paranoia, and fixation on matters we were introduced to from the beginning of this series. Daemon is a ruthless, self-centered individual who harbors deep resentment towards his deceased brother and feels unappreciated.

As a devoted fan, I must say that this finale challenges our understanding of Daemon in an unexpected way. Instead of clinging to his past struggles and desires, he seems to abandon them all in an instant. His sexual complexities, years of resentment, internal conflicts over being second to Rhaenyra, grief, and ambition – none of it crosses his mind. He doesn’t entertain the idea of reinterpreting the prophecy or shrugging it off as someone else’s concern. Instead, he dedicates all he’s worked for throughout his life to a distant future that he and his descendants may never experience. It’s a remarkable turn of events, unlike anything we’ve ever learned about him before.

The same applies to every character in this series who hears the Song of Ice and Fire and feels compelled to save the world. Rhaenyra accepts this role, considering herself as the chosen one. Alicent reevaluates her pursuit of the throne upon hearing it. Alys Rivers disregards the armies amassing before her and the ongoing conflicts among riverland families to discuss another war with Daemon, which will occur two centuries later. To put it simply, everyone in 2024 can relate to understanding that our actions affect the future. However, is it plausible that these power-hungry, self-centered characters were so easily swayed by a single dream and thought, “this changes everything”?

What is this show even about?

Just like Game of Thrones, House of the Dragon shines when it focuses on greed and human self-destructive tendencies – traits that are often at the heart of great family tragedies. Both sides, Black and Green, are consumed by their feelings of injustice and loss, and in their pursuit of justice, they only manage to create more chaos and unnecessary suffering. The futility is what makes it poignant. Characters who display nobility give us something to cheer for, as they’ve managed to find goodness within themselves amidst the relentless pressure to act monstrously.

When everything is framed as prophecy, the emotional depth and nobility that underlies their conflicts seems to vanish. On the surface, their battles are explained by their individual flaws and allegiances, but the show’s underlying narrative is a battle between right and wrong. Characters like Aemond and Rhaenyra are portrayed as morally questionable due to their actions, yet their places in history justify their positions. For instance, Rhaenyra’s struggles appear less significant because we believe she’s in the right according to the prophecy. Helaena is deemed good by the prophecy, while Alicent starts as bad but later redeems herself due to her lack of knowledge about the prophecy initially. The same applies to Daemon and Aegon. The storyline has shifted focus – the central characters seem predictable, whereas peripheral figures like Mysaria, Criston, and Larys, who are unaware or indifferent to future events, maintain a sense of self-driven wisdom and complexity due to their internal struggles.

When do we get to the good stuff?

In essence, “House of the Dragon” is both a prequel and a prophecy story, as these elements are deeply interconnected. Since it’s based on a source text that serves as a loose prelude to another story, all the events have already been determined. This means that instead of focusing on what will happen, the series primarily explores when these events will unfold. The creators decide how much time they want to dedicate to Alicent and Rhaneyra’s upbringing, when King Viserys will pass away, when the Dragonseeds are introduced, and when the character known as Sheepstealer appears on the timeline.

Engaging in anticipation of what’s ahead can be quite fulfilling, especially when events unfold in a thrilling manner. However, season two of “House of the Dragon” has adopted a playful approach with its storyline development. Instead of delivering anticipated events, it seems to prefer prolonging the narrative, almost as if nothing is happening. This tactic is aimed at avoiding the challenges often faced by prequels. At times, this strategy produces unexpected gems, such as Criston’s Shakespearean soliloquies or heated exchanges between Alicent and Rhaenyra. However, these instances are few and far between, leaving viewers feeling stuck in a prolonged stasis more than they would like.

Where are the dragons?!

As a lifelong fan of fantasy and epic storytelling, I can wholeheartedly say that there’s nothing quite like the thrill of watching dragons soar across the screen. With my years spent immersed in various fantasy worlds, I can attest to the fact that when dragons are onscreen, the experience is simply unparalleled. The roaring noises, the fiery explosions, the unique fighting styles, and the sheer terror and awe they inspire never fail to captivate me. The expansive vistas as they glide over city walls leave me breathless with wonder.

If “House of the Dragon” season three manages to move past the shadow cast by “Game of Thrones” and focus on its current narrative, it has the potential to become an impressive successor. However, in season two, it seems entangled in its own prophetic destiny, constantly reminding us of the superior show that once ruled television discussions. The frequent connections to “Game of Thrones” are intended to elevate “House of the Dragon,” making it a crucial part of that epic tale. Yet, these constant references have the opposite effect, causing “House of the Dragon” to feel like it can’t stand alone. While it will always be a prequel, if it spent less time dwelling on its limitations and more time discovering how to rule the infinite realm despite being confined, it could become the ruler even within boundaries. Unfortunately, so far, it seems unable to stop being haunted by its own premonitions of failure.

2024-08-05 06:55