Let’s be honest: navigating the current streaming landscape has been a bit of a struggle. We’re in an era of competent but often uninspired television, dubbed “mid TV”. While there have been enjoyable moments (One Day) and visually stunning shows (Ripley), finding those truly escapist experiences has been difficult. We crave the kind of captivating narratives that hooked us with Succession, Better Call Saul, or even Game of Thrones. That’s precisely why I devoured the first four episodes of House of the Dragon Season 2 with such gusto. This is definitely not “mid TV”. These episodes are brisk, action-packed, extravagantly produced, and undeniably captivating – a refreshing escape in a year filled with mediocrity. While the last statement might sound like faint praise, it wasn’t always this way. My initial reaction to House of the Dragon’s first season was lukewarm at best. The Thrones prequel felt derivative, relying heavily on violence and expensive production values, but ultimately lacking depth. However, the season gained momentum as it progressed, leaping forward in time and introducing new characters. The finale culminated in a thrilling cliffhanger: a dragon duel in the sky, the tragic death of a young prince, and declarations of all-out war. Before diving into Season 2, you might want to refresh your memory of that finale. The action picks up immediately after Season 1’s conclusion, fueled by a significant disagreement surrounding the deathbed pronouncements of King Viserys Targaryen (played by Paddy Considine in the first season). On one side, we have his daughter, Rhaenyra Targaryen (Emma D’Arcy), who believes she is the rightful heir. On the other side, we have Alicent Hightower (Olivia Cooke), Rhaenyra’s childhood friend turned stepmother, who maintains that Viserys changed his mind and named their son Aegon as king. While the details may seem convoluted, the conflict sets the stage for a compelling story about power, its acquisition, its consequences, and the inevitable bloodshed that accompanies its pursuit. The smaller-scale pleasures are found in the intricate courtly machinations and heated council debates. These elements, reminiscent of Game of Thrones, reveal the inherent wickedness at the heart of this world. The characters, just like those in Thrones, are willing to engage in despicable acts, from infanticide to incest, to secure their position. Without spoiling any of Season 2’s plot twists, I can say that the early episodes feature a transgressive act that serves as a stark reminder of the world’s brutality. Perhaps I’m saving the best for last. These episodes are filled with countless scenes featuring dragons. These magnificent CGI creatures are enormous, awe-inspiring, and capable of laying waste to anything that crosses their path. The sheer scale of the dragon sequences, particularly one breath-taking scene, is mind-boggling and a testament to the millions poured into their creation. Despite their grandeur, the dragon scenes are remarkably controlled and choreographed. The settings – castles, ruined chambers, sprawling fields, and dense forests – are vast and impressive, adding to the series’ sense of grandeur. The acting remains consistently superb. Matt Smith as Daemon Targaryen might feel a bit adrift in these initial episodes (one suspects his brutality will come to the fore later), but D’Arcy and Cooke shine as rivals. Ewan Mitchell, playing the one-eyed prince Aemond, brings a sinister edge to the proceedings. And then there’s Sir Simon Russell Beale, delivering a captivating performance as a wise but weary castellan at the ruined Harrenhal. We’ve been surviving on scraps in the world of “mid TV”. Now, a feast awaits.
House of the Dragon Season 2: A Feast for the Eyes and the Soul
