Martin’s Fire And Blood, a quasi-academic account of Targaryen rule that has none of the first-person intimacy of A Song Of Ice And Fire but does have loads of backstabbing and a civil war. Condal and Miguel Sapochnik work from the relatively bare bones chronicle of George R.R. Still, that’s admittedly more a criticism of this show’s context than its content. That’s not necessarily a bad thing when it comes to the storytelling, since it’s set just far enough in Westeros’ past to keep us guessing, but it speaks of a pervasive timidity in Hollywood to take even the most minor of risks.
It’s beautifully rendered - the budget is clearly late-season Game Of Thrones rather than Season 1, and both the Cornish and Spanish locations and the computer-generated dragon flights look magical - but looks and sounds awfully close to its progenitor, down to iconography and locations. Perhaps as a result, it sometimes feels like there’s an element of overcorrection here. The first proposed spin-off to Game Of Thrones – a Naomi Watts-led adventure set in Westeros’ distant past – was ultimately scrapped, reportedly because it was too different from the original show. Immediately, its premiere boasts everything that Thrones did well: an overqualified cast of character actors backstabbing sexposition and lots of dragons.
Spin-off House Of The Dragon therefore debuts to less hype than it might have once had, but really could restore our fascination with Westeros. It’s been three years since Game Of Thrones ended, and five years since its fandom started complaining bitterly about its final seasons.
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