Is Westeros at battle? The response’s options beg to differ. Some people think the action has already begun, while people, and surprisingly some characters in” House of the Dragon” Season 2, Episode 3, appear to still feel the W term is on the horizon and could be kept at bay if they take the right program.
One of them is Rhaenyra ( Emma D’Arcy ), who is aspiring to be queen and who believes that her foes or any opponents in the world will listen to reason. They didn’t pay attention when the previous king gave her a clear name, but perhaps they were persuaded by the child murder committed in her name? Keep dreaming, I say to the now-named Rhaenyra the Cruel king, and she does just that in this event, which is directed by Geeta V. Patel.
Even if others can’t tell the Brackens from the Blackwoods (especially once they are all dead on the ground), yet another episode begins with tertiary characters from the North, Easter eggs, and calculated plot development for “Fire & Blood” readers. We are reminded that the general population of Westeros views Rhaenyra and Aegon (Tom Glynn- Carney) as leaders for all their followers, with Rhaenyra bearing the brunt of Aegon’s son’s death despite her own refusal to participate or consent.
The underlying issue, no delicately put forth in this show or however the series at huge, is patriarchy. In King’s Landing, Alicent (Olivia Cooke) watches with disdain as the King’s small council devolves into shouts, accusations, and undisciplined chaos, with only herself exempt to the hysterics. In this particular show, “House of the Dragon” treads a fine line between empowering and completely absolving both Rhaenyra and Alicent. With two such powerful stars and female figures, there’s fruitful earth in exploring their marriage and desires without relegating them to sanctified, quiet roles. Some of that even pops up after in 203, but as documents, it’s an concern with the season so far.
On the advice of Rhaenys (Eve Best)— who furtively whispers that Otto’s (Rhys Ifans) orders didn’t kill the Cargylls, that “hotter heads have prevailed” (not all men!) — Rhaenyra begins on a quest to speak to Alicent, womano- e- womano, no people or Arms or authorities or cousins, so that they can stop the war in its tracks. Additionally, she makes the decision to depart from Dragonstone with her three youngest sons, Rhaena (Phoebe Campbell), and four dragon eggs (three of which will undoubtedly appear to be familiar to “Game of Thrones” viewers), for Pentos with four dragon eggs.
Daemon (Matt Smith), who is both haunted by their argument in Episode 202 and also genuinely spooky, flys to Harrenhal on her behalf while Rhaenyra prepares her own prank (dressing up as a septa to ambush Alicent… so crazy it might work). The horror- video tone shift — setting, sound, and silence (lack of dialogue anyway) all set it apart from an common” HOTD” sequence, but as Ben Travers hinted in his review, this B plot activities” all the bells and whistles of a barn tactic”. It’s entertaining to see Milly Alcock reprise her role as young Rhaenyra, and it’s ironic that Daemon still sees his wife as the teenage girl (of the beheaded boy Jaehaerys, I’ll just say: I’m grateful it looked fake).
The better, though I must acknowledge that Ser Failing Upward Criston Cole ( Fabien Frankel )’s hair changed mid-season ( nay, mid-episode ) and that this unmistakable cosmetic change is completely on brand for the character. Trust him to spend his first paycheck on a new fade during a wartime promotion. This guy.
(I will also point out that as much as I can’t stand Cole, which is probably by design), Frankel had to limit his Instagram comments because “HOTD” fans have been so cruel to him online, which is completely inappropriate. Kudos to Frankel for bringing a loathsome character to life, shame on his bullies, and congrats on the new ‘ do, Mr. Cole).
Daemon’s eerie castle crusade is juxtaposed with Rhaenys and Corlys (Steve Touissant) being incredibly tender (ostensibly having a picnic at a construction site?, and Patel is given the task of multiple scenes set in heavy rain. Their union continues to put the majority of others in the category to shame, and the actors’ chemistry is outrageous.
Although there isn’t much in this episode, Helaena does a great job of both processing and contextualizing her grief better than anyone else has or will. She pardons the smallpox for staring at her during “that horrid procession,” acknowledging that their lives are far more difficult than hers and that they are more than likely to have lost loved ones or children of their own. By contrast, Alicent’s “The Stranger comes for us all, Queen and commoner” is stripped of that wider empathy — but she means only to comfort her daughter, and she does that by telling Helaena that she has every right to grieve.
Glynn- Carney does continue to lean into my favorite version of Aegon, comedic even in the depths of grief as he hits the bars with his boys (incredible casting to have Kevin ‘KG ‘ Garry at this bar, best known for hanging at the pub in “Ted Lasso”).
Aegon immediately turns to cruelty toward Aemond (Ewan Mitchell), a reminder that their brotherly dynamic was never strong. Aemond was bullied as a child, driven to prove himself by mounting Vhagar even at the risk of death. Aegon, who is drowned in his own roiling emotions and roiling in his own blood, finds comfort in abusing his brother and acting as though they’re just boys in the yard once more and not adults tasked with governing the realm, advancing their bloodline, and coping with things they’ve seen and done.
The episode culminates with Alicent and Rhaenyra, together after too long. Although Arcy and Cooke are stunning together, the tragic irony of this show is that there are so few scenes (in fact, this one is a departure from “Fire & Blood”). Their combination is such that, even without seeing Alcock and Emily Carey portraying it in Season 1, you never doubt the characters ‘ history. Adults who have formed or lost close friendships that transcend personal history are all too familiar with the body language and emotion, especially women.
Although Alicent and Rhaenyra are not close friends in the past, they are still close friends in secret. They are completely safe with one another, at least not in the immediate danger of harming someone else, and most importantly, they are safe from the constant bang of belligerent followers, primarily men, that surround them. Rhaenyra invokes the male desire for bloodshed and battle, in contrast to their own misunderstood of the war ( this isn’t as reductive as “women are peaceful and men love to fight,” but it does connect to Season 1’s numerous graphic childbirths and to what Rhaenyra said in Episode 2 ) and to what she said in Episode 2. She told Daemon” I have challenges enough” without his transgressions, and that goes here too ).
Shockingly, and intriguingly, we watch Alicent digest the fact that she placed Aegon on the throne as a result of miscommunication. Although I’m not having my hopes up, Alicent may decide to lose her fervor or at least give up on her cause. She has since been persuaded by her own death that what she heard was unintelligible, but when she realizes the truth, she finds humility and terror in her eyes.
Still, the episode doesn’t end with any change of heart or shred of hope. Alicent not only thinks war has broken out, but that it is too late to stop it before it can stop. Where previously she was stubborn — wanting justice for Aemond’s eye, putting Aegon on the throne — now she is defeated, doubling down because at least if she backs her own side, she might survive.