Game of Thrones tends to be a show I have a conflicted relationship with, and this has continued somewhat with its prequel, House of the Dragon. This is a show that thrives on deconstructing the traditional fantasy tropes, while directly addressing the uncomfortable realities of royal life in medieval Europe. At the same time, House of the Dragon paints a believable portrait of the cutthroat politics of an earlier time, dressed in fantasy elements like dragons. At its best, this series can deliver some incredible characterization and subversive moments.
Though this show took some time to build it’s narrative, it’s “We Light the Way” that finally shows the dividing lines between the warring factions in Targaryen-era Westeros. The situation was largely created by the manipulation of Otto Hightower, the former Hand of the King, and the arc of his daughter Alicent becomes a large part of that scheme. While we see the failings of the Targaryen royal family on full display in these episodes, they contribute to Alicent taking a villainous arc, as she takes the side of the Hightowers over the family she has married into. The other aspect of the story is the fall of Ser Criston Cole, who is a clever deconstruction of the classic paladin archetype. In any other fantasy story, Cole would have been the hero and the moral pillar of the series. However, Rhaenyra’s seduction of Criston, his repression and his guilt drive him into making dangerous decisions that nearly destroy him. The royal court of King’s Landing even in this time was decadent and depraved, and this episode shows the gradual decline of those who inhabit that world.
The royal wedding presented here, which will be known hereafter as the Green Wedding, may not be shocking to anyone who knows how weddings turn out in Game of Thrones. Royal weddings in Westeros never turn out well, and the wedding of Princess Rhaenyra and Laenor Velaryon does not disappoint in this respect. The Green Wedding likewise ends in a death, though a very different kind than the previous weddings on Game of Thrones. It’s a situation that fits this cast perfectly, with the wedding descending into total chaos while the ailing King Viserys can do nothing but watch. It is in many ways the perfect metaphor for the decline of the realm as the various factions present lose all sense of civility.
However, the most interesting character by far on this show is Prince Daemon Targaryen, the roguish brother of the king, played to perfection by Matt Smith. Matt Smith is one of my favorite Doctors on Doctor Who, and it’s good to see Smith add another iconic character to his repertoire. Daemon in many ways represents a Loki-like figure among the Targaryen family; he has a conflicted relationship with his family, he’s mischievous, he delights in being unpredictable and spreading chaos, and he is scheming and ambitious, yet he shows loyalty to the realm when called upon to do so. Smith is the right actor for that kind of role, having made his career on playing devious and mischievous characters in the past. Yet in this case, Daemon is a villainous trickster that is restrained by genuine love for his brother and for Rhaenyra, and he is an entertaining and charismatic character, making him a complex figure that’s hard to dislike even at his worst. The character finds new sides to display all the time as well, made all the more convincing by Matt Smith’s performance. Even when it’s heavily implied that Daemon murders his wife in this episode, Smith gives him a surprising restraint in that scene, but it feels like a different side of his character we haven’t seen before. Smith’s Daemon is easily the most entertaining thing to watch on the show, which is impressive given how strong the ensemble cast is on this show.
It should be said that even with Smith’s outstanding performance as Daemon, everyone in this show is very good in their respective roles. This episode marks the last time we see Milly Alcock in the role of Rhaenyra Targaryen, and she will be missed. In the past several episodes, she’s grown from innocent princess who chafes at convention to a wiser, more mature woman who realizes the role that she must play in society even if it goes against her desires. Alcock does well at making that transformation believable, setting the stage for Emma D’Arcy to take the role next episode. Emily Carey makes an excellent final statement in the role of Alicent, culminating in her walk in the green dress, signaling her allegiance to House Hightower. The episode pivots Alicent towards the role of an antagonist, establishing the dividing lines between her and her former friend and stepdaughter Rhaenyra. Paddy Considine captures the presence and authority of King Viserys, but beneath that, he also shows a deep sense of pain and vulnerability. Rhys Ifans only appears briefly as Otto Hightower, but he gets an excellent scene with Emily Carey as Alicent in the short time he does. Fabien Frankel mostly plays a subtle and subdued performance as Ser Criston, showing the pain building until he explodes in the final act. When that explosion hits, it’s shocking and it’s unexpected, even if it makes perfect sense in hindsight. The entire cast comes together extremely well in this show, with experienced actors and relative newcomers all contributing to the world of Westeros.
Now that the show is several episodes in, the larger story of House of the Dragon is falling into place quite effectively. The political intrigue is effectively done, with complex and interesting characters driving the narrative as they need to. This episode marks a turning point from youth into adulthood, for Rhaenyra and for Alicent, and it’s a transition that is deftly handled. I’m looking forward to seeing what comes up next for the Targaryen dynasty if the show keeps this level of quality.
Score: 4.5/5
Director: Clare Kilner
Writer: Charmaine DeGrate
Cast: Paddy Considine, Matt Smith, Milly Alcock, Emily Carey, Rhys Ifans, Fabien Frankel, Steve Toissant, Eve Best