Time doesn’t skip anymore on House of the Dragon.
Just as Season 2, Episode 1 picked up not more than a day or two after Season 1’s conclusion, mere hours pass between Episodes 201 and 202. The 72-minute episode written by Ryan Condal and directed by Claire Kilner is the series’ longest to date, demonstrating the cost of the Targaryen civil war in the aftermath of young Jaehaerys’ death, but also in how it impacts those not of royal blood.
Panic and Fleeing in the Opening Sequence
The quiet, panicked opening sequence depicts servants and small folk fleeing and frenzied, like civilians evacuating an unsafe public space; something bad has happened, something we must get away from. The camerawork and an erratic but fitting score from Ramin Djawadi convey how the very environment shifts when tragedies like this occur. Djawadi’s most celebrated work tends to be melodically memorable, easy to hum (like the show’s theme), but here he shows off his range with an uncanny solo violin and a tune that couldn’t be harder to replicate.
Alicent’s Arc Continues
Ben Travers of IndieWire noted in his review of Season 2 that Alicent (Olivia Cooke) is left with the ‘what hath I wrought’ arc
, which continues here from Episode 1. Even though this child murder isn’t indirectly her fault or caused by her children, she and the rest of the Greens are quick to recognize the act of revenge set in motion with A Son for a Son
. The dominoes knocked over by Aemond (Ewan Mitchell) escalate this war into a whole new echelon (all she wanted was Luke’s eye). The ‘what hath I wrought’ arc isn’t stale as of Episode 2, and Cooke excels, especially in her first scene where shock and grief intertwine. Every gasp, choke, and sob elevate the dialogue and emotion at the right moments; the fear imbued in the gods punish us. They punish me
, and the way she breaks down at the thought of daughter Helaena experiencing loss is masterfully done.
Desperate Measures for Aegon and Helaena
The episode encapsulates Aegon’s explosive rage against his council for negligence while Helaena sinks into silent grief. Their unique approaches provide a stark contrast: Aegon hurling furniture shows clear frustration with those around him, condemning his council to wretched fates while Helaena’s distress at public scrutiny underscores her character’s seclusion.
The Blame Game for Jaehaerys’ Death
Both the small council meetings and processions highlight how blame for Jaehaerys’ death finds its way to Rhaenyra despite other figures being behind it. It doesn’t matter who actually committed or ordered these acts; what matters is whose banners these individuals support.
An Electrifying Scene Between Rhaenyra and Daemon
No matter how much hatred and name-calling comes from King’s Landing, Rhaenyra knows the truth. Her doubts about Daemon spark a gripping scene between Emma D’Arcy and Matt Smith. The conversation flows naturally with authentic dialogue that fits the show’s universe while propelling its narrative forward.
Aemond’s Brothel Confession
The quick brothel scene featuring Aemond has two critical moments: first is his admission of guilt regarding his actions against Luke, which comes off as apathetic rather than remorseful. Second is an important takeaway from his companion who points out that when princes lose their temper, it’s often others who suffer.
The Climax Between Arryk and Erryk
The climactic reunion, battle, and eventual demise between knights Arryk (Luke Tittensor) and Erryk (Elliot Tittensor) Cargyll is brutal yet poignantly directed. The twins’ shouts signal not only physical pain but emotional turmoil since they realize their fate before anyone else present.
The Controversial Scene With Alicent and Cole
The episode concludes on a somewhat contentious note involving Alicent and Cole — their relationship isn’t part of George R.R. Martin’s text but adds backstory for TV purposes. Whether viewers appreciate it depends on future developments.
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