The first episode of House of the Dragon's third season feels like a very late finale for the previous one. It's a sign of things to come, as the series stumbles with its ambitious pacing, based on the hundreds of years of fictional history written by George R. R. Martin.
In its attempt to fit everything in a neat linear narrative, House of the Dragon has written itself in more corners than one, and even the tremendous performances and spectacular effects can't help it find its way.
The series is still thrilling, and some moments still remind us of how great both it and Game of Thrones once were. An early sea battle is downright gorgeous, like an epic oil painting come to life, with a scale few other shows could compete with. The dragons are as mesmerizing as ever, fully realized and astonishing in detail. Each time one dies, it is a heartbreaking tragedy.
Sadly, that doesn't always apply to the humans, some of whom feel like an afterthought in the sprawling narrative. The incomparable Emma D'Arcy continues to hold the series together with a beautiful and terrifying performance that demands attention. Rhaenyra is never the hero, nor is she a true villain, at least not yet. She is a tragic figure of operatic proportions, and D'Arcy's performance matches the energy flawlessly.
On the Hightower side, Olivia Cooke also impresses as Rhaenyra's friend turned bitter enemy, Alicent, as her family tears itself to pieces in their war for the throne. Martin's book, for all its grandeur, lacks the intimacy that a series brings, and it's thanks to Cooke that House of the Dragon feels so immediate and true. She and D'Arcy are two sides of the same coin, and when the show focuses on the great tides that bring them together and tear them apart, it is as brilliant as anything Westeros has offered in the past.
But look past the leads, and House of the Dragon loses sight of its supporting cast too often. Many, like the snarky Hand of the King, show up to remind us how much fun they are, and promptly disappear again for numerous episodes. Fewer pieces at play would make for a more interesting board.
By the midway point of the season (four episodes of eight were sent for review), House of the Dragon has picked up the pace considerably. It rushes ahead with great fury, revealing immense destinies and terrible betrayals in every episode, almost to the point of exhaustion. After an occasionally glacially paced second season, there's so much that House of the Dragon must cover to finish its story.
At one point, I had to pause and go back to revisit earlier seasons to remind myself why any of this was happening. Granted, there are dozens upon dozens of characters, and this is an intricately plotted fantasy even in its lightest episodes, but I never had such an issue with Game of Thrones. In its attempt to capture the grand scale of fictional history, House of the Dragon often ends up feeling small when it introduces easily replaceable characters for minute political intrigue.
And yet, even with complaints, I can't get enough of House of the Dragon. It is so vibrant, so gorgeous, so deliciously grandiose that even at its slowest point, it crackles with intensity. Everyone involved is having fun, and their big performances elevate even the silliest dialogue.
When the series spreads its wings (pun unintended) and brings the disparate threads together for breathtaking sequences of war, House of the Dragon is an unmatched piece of fantasy filmmaking. It might take the long way around to get there, but so far the destination has been worth the journey.
