I was asked recently which TV series I was most excited about: House of the Dragon, HBO’s prequel to Game of Thrones; or Rings of Power, Amazon’s prequel-ish adaptation of elements of Tolkien’s The Silmarillion (which I hesitate to call a “prequel” to The Lord of the Rings for reasons that aren’t entirely germane here but which I’ll likely articulate once the series starts).
I wasn’t sure how to answer that question. I suppose that, all other considerations aside, I’m more looking forward to Rings of Power … but that anticipation is tempered by the awareness that the line between amazing and terrible is a trickier one to negotiate with that source material. It was broadly thought that The Lord of the Rings was unfilmable until Peter Jackson proved everyone wrong on that front, but that presumption had more to do with the prior limitations of special effects technology than with storytelling. The principal reason LotR was so good—and why The Hobbit shanked so badly—is because Jackson treated the source material of the former with profound respect. The story of LotR needs little tinkering, as evidenced by how often the films take dialogue verbatim from the novels. The Silmarillion, by contrast, is written as, and unfolds like, mythology, which will necessitate some significant tinkering. Finding that happy medium between rendering it naturalistic and hewing to the spirit of Tolkien’s story will be a difficult needle to thread.
Which is why I’m more confident that House of the Dragon will hit its marks, given that it was always meant to be entirely consonant with its predecessor. I have not however been particularly looking forward to it, for what I assume are obvious reasons. Like most people who loved GoT, the final season left a sour taste in my mouth and the ending felt like a betrayal—not so much a betrayal of the characters, as many people felt, but a betrayal by the showrunners of the show itself. After seven seasons of often superb, unhurried, nuanced storytelling and world-building, showrunners D.B. Weiss and David Benioff—now without the scaffolding of the great bearded glacier George R.R. Martin to shore up their own writing faults—raced to a slapdash finish in a truncated final season that effectively upended everything that had come before and slapped the goodwill of fans in the face.
Which isn’t to say I won’t watch HotD, but I don’t feel inclined to write lengthy recaps/commentaries like Nikki and I did for GoT.
That being said, I watched the first episode last night, so here are my thoughts in no particular order. Mild spoilers ahead.
- The first episode was … OK. I was more or less on board by the end, which is a good sign—it means, possibly, that the awkwardness of the writing was more to do with this being a pilot setting up the characters and contexts, and will find its rhythm as we go. Fingers crossed.
- I can tell it’s going to take a few episodes to adjust to Matt Smith playing the villain. He’s still so indelibly the Eleventh Doctor for me, though I suspect it will be a lot like watching David Tennant play Kilgrave in Jessica Jones. Smith as Daemon Targaryen has similar energy, which is the whole manic alien-among-humans thing being repurposed as gleeful psychopathy.
- As trepidatious as I was going in, that theme music … man, it’s good to hear it again.
- Not to repeat myself, but I do hope the writing finds its groove. Too many awkward moments of dialogue to really overlook … however much Benioff and Weiss floundered with the plotting after they overshot GRRM’s runway, even by the end the moment-to-moment of GoT never felt inauthentic.
- The juxtaposition of the bloody birthing scene and the jousting was a little … obvious. C’mon, man. We get it.
- Something Stephanie pointed out right at the outset: do clothing styles not change in Westeros? This is almost two centuries before GoT, you’d think there’d be some differences.
- I can’t quibble with the casting. Once I’ve worked through my Doctor Who issues, Matt Smith looks to be great. Paddy Considine (King Viserys) has been great in everything I’ve seen him in. Rhys Ifans (Hand of the King Otto Hightower) is also always a solid bet. I had to do an IMDb search to figure out where I’d seen Eve Best (Princess Rhaenys, aka the Queen That Never Was); it was Nurse Jackie, a series I can’t recommend enough, and she was amazing in it, as she looks to be here. Though I really, really hope she gets to do more. And I really like Milly Alcock as Princess Rhaenyra: the ambitious and precocious teenage girl who wants more than the life normally allotted a woman is a role we last saw done superbly by Maesie Williams as Arya Stark; Alcock so far isn’t overplaying it, and I appreciate the subtlety she brings, especially considering we can expect it to be contrasted by Matt Smith’s gleeful scenery-chewing as her principal antagonist.
So I guess we’ll see. Not a bad start, but with the way GoT left things, the series has its work cut out convincing fans they’re willing to be hurt all over again.
One thing I’ve found interesting: there have been more than a few (by which I mean two or three that I’ve seen) think pieces wondering whether HotD will fill the vacuum left by GoT as a show that gives people a common point of contact—as whatever these days passes for water-cooler conversation, or in the more highbrow terminology, a “monoculture.” As Alyssa Rosenberg writes in the Washington Post, “It’s not just that Game of Thrones left behind unfinished conversations. Rather, the show seemed to mark the end of mass, sustained cultural debate period.”
However much GoT was a hugely popular show, I feel this overstates things … or possibly evinces a critic’s nostalgia for entertainment properties that captured more than the niche attention that has increasingly been the norm since television fractured into a wider cable universe, and which itself then gave ground to streaming services and their infinitude of offerings. It’s odd to consider that the ratings for the GoT finale, its most-watched episode at just shy of 14 million viewers, was the same as your average episode of Seinfeld in the 1990s. When I was a TA in the first years of my PhD, I could cite The Simpsons in my classes by way of explaining things and be confident that all my students were familiar with my references.
It’s been a long time since there’s been that kind of touchstone—GoT was the closest thing we’ve had, and I somehow doubt HotD will capture the same lightning in a bottle. But I suppose we shall see.