For those who thought “Game of Thrones” was too difficult to understand, there’s “House of the Dragon,” a prequel that’s like “Knots Landing” to “Dallas.”
Borrowing a page from another HBO hit, “Succession,” this new medieval fantasy takes place some 200 years before “Thrones” and follows family members as they maneuver to ascend the throne.
The Targaryens are still in charge (the Iron throne that became an icon in the original series is here, even more ominous), but there’s a question as to who should succeed King Viserys (Paddy Considine). Because his oldest child is female, it’s unlikely Rhaenyra (Milly Alcock) will ultimately rule. The kingdom has precedent (the Queen Who Never Was, they call her) and a sniveling brother, Daemon (Matt Smith), who insists he’s next in line. Like Rhaenyra, he’s a dragon flyer and doesn’t hesitate to use his skills.
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For “Thrones” fans, it’s important to note there are plenty of dragons to go around. They’re so prominent you wonder if there’s a dragon airport where they take off and land on time.
While “Thrones” was flush with nudity, “House” metes it out sparingly. Similarly, characters don’t die with any real regularity. This is a series that’s more calculated. Hints that are dropped in one episode do play out in another.
In the opener, it’s easy to figure who belongs where. Again, these characters take their time and don’t get caught up in details (save for all the candles they light). Much exposition comes out during a jousting match. Rhaenyra confides in a friend; Viserys’ advisers make their presence known.
Theories abound, and then you get a hotheaded arrival from Daemon. While Smith doesn’t tap into anything he did in “Doctor Who,” it’s difficult to forget the past.
So it is with the Targaryens, who insist on bringing up situations that defined the family. Eve Best (as the one who was passed over) sits in judgment practically everywhere. When residents still pledge their allegiance, you can feel the hair rise.
Violence is as prominent as it was in “Thrones.” Heads are lopped off, swords are brandished, lives are ruined but, largely, these are nameless warriors.
In that joust, we get a first look at suitors who could play a big role in later episodes. Just guessing who might be right for Rhaenyra makes some of those longing looks seem more bearable.
Alcock does a great job establishing her character (even though Emma D’Arcy plays the role in later years) and Emily Carey is just right as her friend, Alicent, who has goals of her own.
Based on George R. R. Martin’s prequel, “Fire & Blood,” “House of the Dragon” hews more closely to “Masterpiece Theater” offerings than offbeat streaming efforts. It’s mainstream fantasy, blessed with sumptuous costumes, compelling settings and those “Avatar”-like swooping dragons.
Dragons, in fact, turn up just when the plot needs them most. When the house seems like it’s going to fall, they’re there to shore it up. They’ve also got a nest of eggs that obviously inspired someone at Faberge.
Crack a few and you’ll see how the house begins to wobble. Women make their moves in this era but, as one says after the death of a key character, “this is a wound that will never heal.”
How “House of the Dragon” will serve as the blueprint for “Game of Thrones” is the most intriguing aspect of the series.
It’s good; it still has time to be great.
“House of the Dragon” airs on HBO.
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