With its episode 4, the characters of House of the Dragon there is only one desire: to take the sword from its sheath, in the figurative sense of the term.
Warning, minor spoilers!
I would love to be reeeeeine
“I don’t want a life where I have children until I die”, Rhaenyra shouted as the kingdom awaited her wedding. Despite the pressure placed on the shoulders of her father Viserys, the princess refused to give in to the traditions ofa policy that only shows its archaismand the death penalty means it is a woman.
Inevitably, episode 4 of the House of the Dragon puts forward more than ever the vanity of its leaders, their sincere belief in a moral evolution, and the fortress that they ignore themselves in the face for this reason.
In this situation: A/ I give priority to the dragon B/ I join C/ I grab the handle
But above all, this fourth chapter stands out as one of the most important of the season, because it proves the nerve center of the series: the plight of women in the world of Westeroswhich is symbolized by two sides of the same coin namely Rhaenyra and Alicent.
From ellipse to ellipse, the new HBO production carves out anger and trauma, and proves in the most beautiful way that it has learned lessons from Game of Thrones. Instead of dispersing many subplots and many additional characters, it remains focused on its issues, and in the narrative again and again can only be in the form of sharp boomerangs.
Conveniently, the major (and traumatic) event of the first episode takes on greater importance as the series progresses. Viserys doesn’t just have to make a terrible decision. He leads his daughter who wants to escape the same fate, and therefore make a change that will seal the future of the line.
In contrast, Alicent becomes a more resigned woman, plagued by a malaise that turns her against her childhood friend. Here again, House of the Dragon go fastan alternate assembly as efficient as it is beautifully constructed, where Rhaenyra’s pursuit of hedonism is equated with Alicent’s sense of duty…in the bedroom. If Milly Alcock has always expressed herself as a wonderful actress, Emily Carey pulls out of the game here, embodying a noble way of changing her character, losing all her original frankness. .
Friendship is in danger
When plagues of incest
Since the beginning of House of the Dragonsome viewers did not fail to accuse the series of sanitizing the aesthetics of Game of Thrones. On the one hand, one is tempted to say that the kingdom of Westeros was more prosperous and stable at that time (after all, we are talking about the fall of the Targaryens), but above all, until now it still remains income. of the mighty, shut up in their ivory tower.
The bad thing in episode 4 is precisely to take Rhaenyra and Daemon for a walk through the streets of Port-Réal, so that the camera is focused on the filth of this medieval Sodom and Gomorrahwhile decay spread within the castle itself through the rotten body of the king, and the rats spread through the rooms.
The throne of nonsense
Furthermore, where George RR Martin’s adaptations are often forced to limit themselves to painting people and their political considerations, House of the Dragon take the time to create a beautiful metonymy of this through an outdoor theater play. The opportunity to show that Rhaenyra’s distrust and the court’s unloveliness are equally important on the other side of the wall.
From there, this episode 4 succeeds in representing what the protagonists are fed by their role, their mark on the cogs of power, and how, by throwing their responsibilities out the window, they create chaos without name. It clearly goes through the usual sex scenes of Game of Thrones (the return of incest, yay!), followed by hallway noises, lies and Shakespeare’s irretrievable betrayals. House of the Dragon fully possessing its monstrous dimensionand the beginning of autumn is even more beautiful.
A new episode of House of the Dragon will be available every Monday on OCS starting August 22, 2022