The second season of the dragon housefiction based on the universe of George R.R. Martin that revolves around the House Targaryen almost 200 years of the plot that Daenerys starred in and that she embodied Emilia Clarke.
However, on this occasion, the expectation and anxiety that was present in the fans (and the massive audience that followed it, turning it into an instant classic of popular culture) has not been generated every time a new batch of episodes of Game of Throneswhich turned each new season into a true television event.
the dragon house It is not generating as many doses of enthusiasm as its predecessor. So we will try to analyze some of the possible reasons.
Game of Thrones had a particularity that was not common in series with such a substrate coral and it is that each character was perfectly definite in just several brush strokes and acquired an absolutely independent character through a presence and an entity that helped the viewer not get lost in the chaos of plot lines and real houses.
In the case of the dragon housethe story basically works through the two female presences that confront each other: Queen Rhaenyra (Emma D’Arcy) and Queen Alicent Hightower (Olivia Cooke). In the case of men, only two this season still have charisma, Otto Hightower (Rhys Ifans) and, of course, Daemon Targaryen (Matt Smith).
When we enter the magma of children and descendants, interest fades completely. And that is still a problem.
By condensing practically all the gear into the members of a single family, part of the originality and fancy of the previous proposalwhich led us through all kinds of scenarios and universes independent.
On this occasion, there is only one worthwhile plot line, as we have already said, that of Rhaenyra and Alicent, and it does not even manage to keep us in suspense because it does not achieve enough interest no matter how much incidental intrigue is introduced around it. . There are fewer magical and unpredictable elements, less mythology, less spark in general between the characters.
Even though there is more action and the budget has doubled, from 100 to 200 million dollars per season, that does not mean that it is more epic or more spectacular. There is more dragonsbut even that doesn’t make us feel any ‘sense of wonder’ (a very ‘Spilbergian’ term) when creating powerful images that remain engraved in the head, something that did happen constantly in Game of Thrones. Not even the scene from the first episode of the recently released season that has caused the most stir, that of a cold-blooded murder, is well executed nor does it achieve the power of suggestion that it should have.
Some were tired of the long conversations between certain characters of Game of Thronesbut, the truth is that a good part of them were written with a very sharp pen, full of ulterior motives, internal revelations or, what we could consider a style reminiscent of ‘Shakespearean’. It was a real pleasure to listen to Tyron Lannister’s rants (Peter Dinklage), by Cersei Lannister (Lena Headey) or Peter Baelish (Aidan Gilles). Here, the conversations are more to the point, but part of the essence and poetic power of the great lapidary phrases of the previous series is lost.
When in Game of Thrones The entire mythology of House Targaryen arose, it seemed that the legend of the family was fascinating, with that ‘mad king’, the dementia that was passed on from generation to generation, his power to control dragons, his blonde hair and his alien appearance.
But when the plot has focused exclusively on them, apart from the insanity of Daemon’s character, it is not that their characters have been so attractive either. family intrigues –at least for the moment and especially those focused on the young successors, in which scheme repeats after scheme. In that aspect, cloning the formula with less variety of characters has been fundamental to the loss of steam.
