When Mud Wrestling is the Highlight of the Finale, That’s a Problem

“Game of Thrones” faced a significant amount of criticism for its controversial decisions over the seasons, but at least seven out of its eight seasons ended on a high note, offering some redemption. Despite its flaws, the series sustained our interest.

“House of the Dragon” takes us back to one of the most iconic junctures: Daenerys hatching her dragons generations after they were believed to be extinct. That moment redefined the stakes and painted Daenerys, an exiled royal, as a formidable player.

The new series teases a similar storyline when Rhaena Targaryen (Phoebe Campbell) leaves her nanny duties to seek out a wild dragon. After an arduous journey, she finally encounters the dragon, but that’s where it leaves us, with a probable wait until 2025 or 2026 for answers.

Meanwhile, Rhaenyra (Emma D’Arcy) stares out from Dragonstone, Alicent (Olivia Cooke) watches the sunrise, and Daemon (Matt Smith) stands with his army. Driftmark, Stark, Lannister, and Hightower men are also on the move, introducing us to a Hightower dragon we haven’t seen before.

All these developments are shown equally in a montage, but they don’t carry the same emotional weight. Rhaenyra, Alicent, Daemon, and their followers are the inevitable chess pieces, while Rhaena’s quest echoes Daenerys’ meteoric rise. Despite this, the buildup feels stagnant, delaying any significant plot movements for up to two years.

The anticipation over how “House of the Dragon” will unfold continues to grow. The show introduces new dragon riders in the penultimate episode only to have one ruin the mood. The crucial tension between main characters is disrupted by forced reconciliations, weakening the impact of their confrontations. Prince Jacaerys Velaryon (Harry Collett) also comes off as annoyingly whiny.

The second season finale further compounds these issues, focusing on unresolved conflicts without establishing the characters well enough for us to care. Aemond (Ewan Mitchell) seems aimless, causing chaos and even harming his sister, who ominously hints at his death.

Rhaenyra’s emotional depth is a testament to D’Arcy’s performance, particularly in her scenes with Cooke’s Alicent. When the dowager queen visits Dragonstone to admit her past mistakes and seek peace, Rhaenyra, bolstered by her seven dragons, dismisses her. This confrontation highlights their strained friendship and shifts the power dynamics further.

It’s important to recognize that the slow plot advancement is not solely the fault of finale writer Sara Hess. Showrunner Ryan Condal and his team are struggling to utilize the narrative potential of George R.R. Martin’s “Fire & Blood,” which offers a flexible framework for character development.

The episode doesn’t entirely lack merit. The introduction of Sharako Lohar (Abigail Thorn) injects humor and energy into the narrative. Lohar’s scene-stealing act, skillfully cutting Tyland Lannister (Jefferson Hall) down to size, is a much-needed breath of fresh air in a show often weighed down by its seriousness.

Matt Smith as Daemon Targaryen in “House of the Dragon” (HBO)

The Triarchy pirates secure a favorable deal by out-negotiating Tyland Lannister, forcing him to resort to dirty tactics in a pit fight to impress Lohar. This culmination, served with a mix of humor and grim determination, keeps the political intrigue alive.

Daemon’s time at Harrenhal, however, was overextended and felt more like a misadventure into a spiritually confused retreat. Prolonged dream sequences and misplaced brooding weakened the pacing, although it did eventually lead to a meaningful personal reconciliation and reaffirmation of loyalty to Rhaenyra.

Another standout moment is Rhaenyra and Alicent’s late-night conversation, capturing the fraught emotions of a broken friendship. Alicent’s remorse and pragmatic bargaining for her son Aegon’s safety underscore the palace intrigue, yet Rhaenyra remains steadfast and demands retribution for past betrayals.

Tom Glynn-Carney as Aegon Targaryen and Matthew Needham as Lord Larys in “House of the Dragon” (HBO)

Aegon’s storyline remains lackluster. His dialogue with Larys Strong (Matthew Needham), filled with unfulfilled ambitions and grudging decisions, leads to a reluctant acceptance of fleeing to Braavos.

Rhaenyra’s struggle to assert her authority and manage her house, especially dealing with disrespectful new dragon riders like Ulf, highlights her challenges. Despite her growing arsenal of riders and dragons, internal dissent remains a significant barrier.

Tom Bennett as Ulf in “House of the Dragon” (HBO)

The character of Ulf does little to endear himself to the audience, and his arc lacks the nuance needed to justify Rhaenyra’s tolerance of his behavior.

Geeta Vasant Patel’s direction stands out for its visual callbacks, such as Rhaenyra’s arrival at Harrenhal echoing an earlier confrontation with Daemon. These moments of symmetry offer depth and continuity to her character’s journey.

Among the notable performances, Abubakar Salim delivers a heartfelt monologue that adds a layer of emotional realism to the show, particularly in the face-off with Corlys Velaryon (Steve Toussaint). Simon Russell Beale’s portrayal of Ser Simon Strong brings a much-needed touch of levity to the somber narrative.

Despite some strong elements, “House of the Dragon” often falls into repetitive, philosophical monologues that drag the pace. Characters like Ser Criston Cole (Fabien Frankel) ponder the futility of their actions, epitomizing the show’s struggle to balance significant developments with meaningful engagement.

In summary, while “House of the Dragon” brings intriguing setups and strong performances, it struggles with pacing and character development. Meaningful resolutions and stronger narrative cohesions are essential for future improvements.

All episodes of “House of the Dragon” are streaming on Max.