Time doesn’t skip in House of the Dragon. Episode 2 directly continues from where Episode 1 left off, demonstrating the immediate aftermath of young Jaehaerys’ death. This 72-minute episode, written by Ryan Condal and directed by Claire Kilner, marks the series’ longest to date and offers a deep dive into the fabric of the Targaryen civil war, affecting not just the royal blood but also the common folk.
The initial moments feature a panicked scene with frenzied servants and villagers desperately fleeing. These shots capture civilian life upheaval amidst a crisis, much like an unsafe public space evacuation in our reality. Ramin Djawadi’s score shines here, employing an erratic yet fitting solo violin that highlights the escalating tension.
In IndieWire’s review of Season 2, Ben Travers noted that Alicent (Olivia Cooke) is left with the ‘what hath I wrought’ arc
, which intensifies from Episode 1 into Episode 2. Despite this child murder not being her direct doing or caused by her children, she and the Greens discern the repercussions set off with ‘A Son for a Son’.
Cooke’s portrayal is stellar throughout, capturing every gasp, choke, and sob as Alicent wrestles with guilt and grief. For example, her breakdown at the thought of Helaena losing a child (portrayed by Phia Saban) is harrowingly raw.
Aegon and Helaena’s Contrasting Grief
To connect with the audience emotionally, this episode emphasizes feeling for Helaena and Aegon, as Saban and Tom Glynn-Carney deliver contrasting yet compelling performances. While Aegon expresses his anguish through rage and destructive behavior—culminating in executing every ratcatcher in the Red Keep—Helaena silently weeps in isolation. Her distress during Jaehaerys’ funeral is palpable and adheres to Saban’s established character portrayal.
Rhaenyra Faces Blame
Both small council discussions and funerals highlight Rhaenyra (Emma D’Arcy) being held accountable for Jaehaerys’ death. The blame is strategically pinned on her irrespective of Daemon’s orchestration or Mysaria’s assistance in executing this crime.
Amidst this turmoil, an intense argument scene between Rhaenyra and Daemon stands out. Their dialogue vividly mirrors real-life tensions between obstinate individuals. Directed masterfully by Kilner, this exchange underscores their relationship’s fracture through dynamic actor movements and nuanced dialogue.
Aemond’s Brothel Scene
This episode also includes a brief but significant brothel scene involving Aemond. Two pivotal moments occur here: his half-hearted admission about ‘that business with Luke’, lacking any true remorse, and his companion’s revealing comment about princes losing their tempers resulting in commoner suffering.
The Cargyll Twins’ Tragic Fight
“For all its high-minded artistry and exploration of complex themes,” stated George R.R. Martin. “With its splendid staging of the deadly duel between twins Ser Arryk Cargyll (Luke Tittensor) and Ser Erryk Cargyll (Elliott Tittensor), House of the Dragon suggests the folks making the show are consummate entertainers as well.”
The episode crescendos with an emotionally charged duel between Arryk (Luke Tittensor) and Erryk Cargyll (Elliott Tittensor). Ser Criston Cole’s orders catalyze this brutal confrontation at Dragonstone. Otto Hightower bizarrely labels it a ‘prank,’ but Cole’s true intentions couldn’t be graver.
The fight sequence intertwines visceral hand-to-hand combat with swordplay brilliantly staged amidst chaos. The anguish shown by Luke and Elliot resonates deeply with viewers.
Alicent and Criston’s Troubling Pairing
The final scene featuring Alicent and Cole is arguably the weakest part of this episode. Their extramarital relationship isn’t rooted in Fire & Blood source material, adding little depth to their characters despite repugnant behavior by design. Nevertheless, Ryan Condal keeps us intrigued about where this troubling partnership will lead next.
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