‘House of the Dragon’ recap: How the ‘Game of Thrones’ prequel weaves real-world echoes into its fantasy realm (SPOILERS)


In the first chapter of the HBO series, the queen, Aemma Targaryen (Sian Brooke), is in the midst of a difficult delivery. Her husband, King Viserys Targaryen (Paddy Considine), is desperate for a son to have a male heir to the throne, in keeping with tradition.

The medical advisors say the baby faces a terrible choice, the medical advisors say the baby faces a terrible choice, a choice where either the baby must be lost or the mother’s life must be sacrificed to try to save him. to rescue.

After suffering pain for a while, the king opts for the latter, with the blood loss from the horrific procedure killing the queen.

Earlier in the episode, Aemma refers to women giving birth as “our battleground,” and thanks to the limited resources of the time, that’s especially true in the reality of the show. As James Hibberd of the Hollywood Reporter put it, “The first season does for childbirth what ‘Game of Thrones’ did for weddings.”
Although the series has been cast as a fictional fantasy, it’s impossible to completely separate it from the abortion debate since the Supreme Court overthrown Roe v. Wade in June, sparking a heated debate on issues of forced birth and the women’s freedom to make their own healthcare choices. Here it is the husband (and not coincidentally the head of state) who ultimately decides for her, with the most dire consequences.

The fact that the baby dies later doesn’t erase Viserys’ actions, though it eventually prompts him to designate his daughter, Princess Rhaenyra (Milly Alcock), as his heir, despite the break with tradition that entails. , and the expectation that a future son, born of a new queen, will prompt him to replace her.

At its core, as the producers have acknowledged, the first season of “House of the Dragon” revolves around questions related to a patriarchal society, one in which sons are favored in the pressure to secure royal bloodlines, and chaos and disagreements can arise without such clear lines of succession.

Addressing these themes, executive producer Miguel Sapochnik has said that a fundamental tension within the series is “patriarchy’s perception of women,” noting that exploring such material — including the decision to wrap the story around the female characters anchor – “made this show feel more contemporary.”

While the primary mission is an earlier chapter in author George RR Martin’s struggle for the Iron Throne, the producers were clearly aware of early criticism of “Game of Thrones.” That included including people of color in the cast of “House” and, as Salon noted, using a more subdued approach when depicting sexual assault.
Obviously, the scale and setting of “House of the Dragon” suggests that it seeks to appeal to a variety of audiences at different levels, including spectacle, escapism, and its relationship to mythology in Martin’s writings and the earlier series. But drama has a way of dealing with things that are relevant to our lives, even if it is set in the past, the future, or an alternate version of reality.

So in terms of writing off the series as pure fantasy, as the premiere suggests and future installments will amplify, don’t let the dragons fool you.

The Valley Voice
The Valley Voicehttp://thevalleyvoice.org
Christopher Brito is a social media producer and trending writer for The Valley Voice, with a focus on sports and stories related to race and culture.


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