The return of a mega-show years later is a fascinating phenomenon, but it also carries a certain danger for beleaguered political leaders and, as we will see, for beloved TV franchises. When a critical mass of the public stops listening, it can spell the end of a career or, in the case of HBO's House of the Dragon, a show's run. This is the point of no re-election or, in the context of this article, the point of no re-watch.
The second season of House of the Dragon was a bit of a letdown, with competent but uneventful storytelling and special effects. It felt like a lot of build-up without any payoff. The showrunners seem to have taken note of this criticism, as the third season opens at breakneck speed with an action-packed episode that feels like something from a Pirates of the Caribbean film. However, the show's existing weaknesses persist, particularly when it comes to its secondary and tertiary characters.
One of the main issues with House of the Dragon is its tone. While it does have light moments, it has never been as naturally funny as its predecessor, Game of Thrones. Its brooding, self-serious vibe is more conspicuous now after the surprising success of its lighthearted spin-off, A Knight of the Seven Kingdoms. The show's tone is so serious that it's hard to recommend it to anyone who isn't already excited, and it's not a show you can join late.
The showrunners' reluctance to let the principal characters, Rhaenyra and Alicent, stray too far towards villainy is holding them back. This determination to maintain the audience's sympathies for them makes them less interesting and less like real people. It's a shame, because my favorite performance in these episodes comes from Tom Glynn-Carney, who plays the flamboyantly reprehensible Aegon Targaryen. He is a pompous little piece of crap, and it's a lot of fun to watch.
The show's secondary and tertiary characters are also less memorable and less like real people. They're blander somehow, and you find yourself noticing the writers' strings. This becomes a bigger problem as they shoulder more important roles in the narrative. It's hard to recommend this show to anyone who isn't already excited, and if you struggled with season two, I'm not convinced a little twist of the pacing knob will be enough to win you back.
In my opinion, the showrunners need to take a step back and re-evaluate their approach to character development and storytelling. They need to let the characters stray further towards villainy and allow the audience to see the complexities of their motives. Only then can they truly bring the Tagaryen civil war to life and create a show that is truly worthy of its predecessor, Game of Thrones.
