Review | Even in love with the original series, ‘The House of the Dragon’ brings fantastic drama to its best
Caution: spoilers ahead.
George RR Martin became one of the most important names in the fantastic literature scene with the publication of the acclaimed and beloved saga ‘The Chronicles of ice and Fire’. But it would not be until 2011 that his franchise would gain an essential chapter for its own popularization, receiving an extremely acclaimed audiovisual outfit that would become known as ‘Game of Thrones’: the series, shown over eight seasons, won over audiences around the world, took home dozens of statuettes and, in fact, turned into a multimedia event that, to this day, is discovered and rediscovered. Of course, the closing cycle ended up frustrating a good part of the fans with amateurish mistakes and meaningless resolutions – which led to HBO and their respective executives to work on a kind of “repair”.
Three years after the series finale aired, we are invited to revisit the complex world of Westeros with the much-anticipated ‘The House of the Dragon’ – a derivative work that not only works as a new story, but expands the creative scope signed by Martin. And now, audiences are swept up in yet another bloody, explosive medley of betrayals, lies and plot twists that promises to delight viewers in the same way as the original title. Of course, following in the footsteps of a building as grand as ‘Game of Thrones’ Not an easy task; however, we now have Martin in the creation and adaptation of the novel for the small screen, collaborating with the veteran Ryan Condal (who is also no stranger to epic productions) – which culminates in a competent season, despite living under the shadow of her “big sister”.
Traveling almost two hundred years into the past, the main narrative revolves around House Targaryen (which, as we well remember, is the House to which Daenerys belongs) at the height of its power, extending its dominions across the Seven Kingdoms. To top it off, the Targaryens are also known to be dragon riders, which is why they are characterized as being closer to the gods than mere mortals. But of course, behind the mask of imposing rulers so powerful they must be feared, hide secrets that threaten to destroy an entire kingdom and that, in a way, portend ultimate doom. It is within this intricate cosmos that we observe the dynamism between King Viserys I (Paddy Considine) and Princess Rhaenyra (whose younger version is played by Milly Alcock).
The organism that governs the relationship between father and daughter is not the best – and it starts from a principle often seen in productions of the genre, even more infused in the novelist’s universe. Despite believing he’s doing what’s best for her, Viserys harbors a resentment at not having a male heir, perhaps more because of the traditionalism that rules Westeros than what he really wants. When his wife Aemma (Sian Brooke), gives birth to a boy, her dreams seem to come true – but good is short-lived and both Aemma and the baby die, forcing the King to announce Rhaenyra as the next to occupy the Iron Throne.
The rise of a Queen to the Throne would mark a new era for the world they live in and even serve as the basis for Daenerys’ quest in ‘Game of Thrones’ and its delineation of independence and freedom. However, young Rhaenyra is treated with contempt by the Lords who are part of the royal entourage and even by her subjects – and the Princess sees what is rightfully hers slipping away little by little. Not only is she threatened by her father’s continued disappointment, but by the menacing presence of the arrogant Prince Daemon (Matt Smith in yet another applaudable role), who stands up to Viserys and does whatever he wants to achieve his goals, which, in this case, include control of Westeros and the compulsory submission of those who don’t believe in him.
The season follows a very explicit line of balancing drama with action and some reflective incursions that serve more as metaphors for understanding the world we live in than to help with the pace of the story. Even with the positive balance, it is remarkable how the series is very passionate about the original and does not think twice about honoring it as best it can, with punctual references and aesthetic choices that pull elements from chapters such as “The Rains of Castamere”regarding the atmosphere of suspense and anguish, and “Battle of the Bastards” and “The Bells”, with regard to more grandiose events that premeditate the denouement of the chapters. Although the similarities are obvious, the creative team tries as much as possible to get rid of repetitions – well, Ramin Djawadifor example, is inspired by the first-born soundtrack, remodeling it for a denser setting, in keeping with what happens.
While some may be more critical of the script, it’s okay to stick to a specific identity that reduces the constant and exhausting succession of facts in favor of a presentation that doesn’t require prior knowledge, but embraces as many viewers as possible. get. Embarking on this journey is a path of no return, because the deeper you dive, the harder it is to let go of the need to know what will happen – and this page borrowed from ‘Game of Thrones’ is very welcome.
The 1st season of ‘The House of the Dragon’ he sins in excess here and there, but that does not take away all the merits he achieves. Through a plot full of engaging characters and arcs that have a lot to be explored – in addition to the presence of Martin behind the scenes -, the series starts off on the right foot and poses as a gift for fans and those who don’t have much contact. with that universe.
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