"And no war so bloody as a war between dragons." Sadly, by the time those words are uttered, both kinds of war have come to seem inevitable.
King Viserys I Targaryen (Paddy Considine) is dead, and his bratty son Aegon (Tom Glynn-Carney) has usurped an Iron Throne that rightfully belonged to his older half-sister, Rhaenyra (Emma D'Arcy). Season 1 ended with the spilling of first blood, when Aegon's brother Aemond (Ewan Mitchell) watched his dragon, Vhagar, devour Rhaenyra's son Lucerys (Elliot Grihault).
It doesn't matter that Aemond didn't intend to kill the boy. Lucerys' death, which came so soon after that of his peace-loving grandfather, sets off a wave of violence that mounts as the second season of the Game of Thrones prequel progresses.
As Rhaenyra's Black faction and Aegon's Green slide slowly toward all-out civil war, House of the Dragon cements its place in George R.R. Martin's dark universe by rejecting platitudes about honor and bravery that suffuse so many fantasy epics. Instead, this harrowing season exposes the unique forms of grief and guilt that result when one nation-and the family that leads it-declares war on itself.
In a welcome break with the relentlessly expository first season, which raced through decades' worth of traumatic births and deaths at a pace that made it tough to feel immersed or even invested in the palace intrigue, the first half of Season 2 unfolds patiently, in the immediate aftermath of Lucerys' fatal flight. His older brother, Rhaenyra's heir Jacaerys (Harry Collett), is at Winterfell, confirming the loyalty of the Starks.
Diese Geschichte stammt aus der July 15, 2024-Ausgabe von Time.
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Diese Geschichte stammt aus der July 15, 2024-Ausgabe von Time.
Starten Sie Ihre 7-tägige kostenlose Testversion von Magzter GOLD, um auf Tausende kuratierte Premium-Storys sowie über 8.000 Zeitschriften und Zeitungen zuzugreifen.
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Kate Winslet Puts Lee Miller in the Frame - Kate Winslet loves tables. She loves them so much that the Oscar-winning actor collects them.
Kate Winslet loves tables. She loves them so much that the Oscar-winning actor collects them. There is nothing fancy about these antiques, but they enchant her. "It's the knots and the whorls, the shape and feel," she says. "They can feel like old friends, and there is something emotionally charging about an old table that comes with a history-I find imagining what that might be enormous fun."
Alfonso Cuarón Goes Long - The Oscar-winning filmmaker finds pathos in our lonely present in his first TV miniseries
A perceptive, generous-spirited child draws on her imagination when she's subjected to the cruelty of a boarding-school headmistress. A lone astronaut, cradled in a damaged space capsule and having lost any hope of returning to Earth, experiences a hallucination that saves her life. A young household servant, abandoned by the man who's gotten her pregnant, miscarries-though his betrayal helps her define what family truly means to her. Loneliness, so universal it has virtually become trademarked the Human Condition, is everywhere in art, and in life: we tend to fetishize it, or at least dab it with a perfume of sentimentality. But Alfonso Cuarón, now more than 30 years into a wide-ranging career that spans pictures like the Frances Hodgson Burnett adaptation A Little Princess, the space reverie Gravity, and the memoir-as-film drama Roma, is more interested in subtle emotional textures, in gradations of feeling that are always specific to the character at hand yet also joltingly recognizable. And now he brings his big-screen, big-story gifts to a limited series, an adaptation of Renée Knight's 2015 psychological thriller Disclaimer.
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