Two hundred years after House of the Dragon Cersei Lannister will blow up the Great Sept of Baelor in one of Game of Thrones’ best episodes. Unfortunately the prequel series used a sacred spot in King’s Landing to deliver one of its worst episode. Rhaenyra’s ridiculous, inane, out-of-character reunion with Alicent is among the most abominable scenes in Game of Throne‘s franchise history and a bad omen House of the Dragon is already making the fatal mistake that ruined its predecessor’s final two seasons.
There were many reasons for Game of Thrones’ greatness, including acting, directing, writing, and production design. Yet, what attracted many viewers to the Realm was the idea “anything could happen” in the Seven Kingdoms. This was both true and false. But, from the moment Game of Throne‘s pilot ended with a handsome knight, caught having sex with his twin sister, the Queen, pushing a child out of a tower window it seemed clear the series was not afraid to go unexpected places. When season one’s unquestioned main character, Ned Stark, eventually lost his head, there was no doubt. Subsequent seasons confirmed the idea.
A willingness to do “anything,” even killing off important characters, is not what made HBO’s Game of Thrones series special, though. Other shows, both before and since, have also done that. They’ve also been just as shocking, violent, or graphic. Yet those series’ most notorious moments never generated a shred of Game of Thrones’ emotional impact or its audience.
The true reason why Game of Thrones is special better explains why so many viewers loved it. It was special because, unlike most shows, it didn’t care about being a TV show. Not in any traditional sense, at least. It was concerned with telling its story honestly and without compromise, no matter what. Its most outrageous, painful, gruesome moments weren’t there to simply surprise or upset the audience. Game of Thrones didn’t chop off a character’s hand or slit their throats just to do it. It wasn’t trying to emotionally manipulate its audience, either. It generated real pathos because those moments were authentic, well-earned events borne from uncompromising storytelling. Game of Thrones went where its story took it.
A sprawling tale of war in a land of magic, dragons, ice zombies, political intrigue, and familial infighting naturally wanted to go to some unbelievable places, and Game of Thrones never shied away from going to them. If that meant killing off an incredible actor in an amazing role, so be it. Charles Dance gave an all-time great performance as Tywin and was a major anchor of the show. That didn’t keep him safe when he betrayed his son. That dedication to the story is why we had to see Oberyn Martell’s head popped like a zit. Every other TV series would have rewritten the character’s arc so Pedro Pascal could stick around a lot longer.
That kind of unflinching commitment to the story, one free of worry over about TV stars, Q-ratings, or making anyone, from executives to the audience, “happy” came from George R.R. Martin’s novels. But that’s exactly why adapting A Song of Ice and Fire was such an unlikely endeavor in the first place. His epic fantasy actively violated the general principles of most television shows. Ned Stark’s actions put his head on a chopping block, but most shows would have found a way to save their biggest actor from his fate. The Red Wedding was clearly too devastating for some, but that wasn’t Game of Thrones fault, it was Robb Stark’s. He broke his vow to a dangerous ally.
Game of Thrones’ willingness to eschew normal TV conventions and practices helped make it special. And then it stopped doing that and turned into every other television show.
Rather than following its story’s natural path over its last two seasons, Game of Thrones began reverse engineering big moments. Spectacle suddenly trumped authenticity and logic. Previously, armies needed an entire season to cross a single continent. Now, they moved halfway across the world in an hour. Meanwhile, dragons flew at lightspeed to save idiots who marched beyond the Wall without a horse to kidnap the dead. Major characters, even the smartest, most experienced people in Westeros, were suddenly stupid because the plot needed them to be. Sisters didn’t tell their brother a giant army was coming to help.
Just as unforgivable was that characters’ absurd actions suddenly had no consequences. Game of Thrones had done the unthinkable and outfitted them with plot armor. Keeping an actor around for another season suddenly seemed important than what the story wanted.
During its much-derided final two seasons, Game of Thrones abandoned the logical, honest storytelling that it had built an empire on. The show, in all aspects, got really dumb. Unfortunately, Rhaenyra’s scheme to speak face-to-face with Alicent on House of the Dragon warns the prequel series might follow in those footsteps.
There is simply no way someone as smart as Rhaenyra Targaryen would sneak into King’s Landing to meet with the mother of her enemy as she does on House of the Dragon, especially not after the death of her own son Lucerys and the brutal murder of Alicent’s little grandson Jaehaerys. Even with Rhaenyra’s genuine desire to avoid a bloody war, she would not put herself in that kind of situation because it would endanger her family and everyone who ever supported her.
The mere chance Alicent had either lied in her letter, changed her mind after Blood and Cheese, or would naturally freak out and and bar the city gates or sept’s doors the moment she got away from Rhaenyra was reason enough for Rhaenyra not to try this cockamamie reunion scheme. Anyone with half a brain would know that. There is no way to defend this House of the Dragon plot development unless you think Rhaenyra is actually that stupid.
Even if Rhaenyra is that idiotic (and until now, she hasn’t been), the reunion scene also required Alicent to be just as dumb. Either the Queen Dowager wants to win the war, or she wants peace. In either case, taking Rhaenyra hostage would give her what she wants. The moment Rhaenyra let Alicent walk away, Alicent should have called her guards.
This House of the Dragon scene can only exist if both people involved are as unintelligent as the scene needs them to be. This was an interaction, at best, devoid of logic and, at worse, actively antagonistic to the story. It’s hard to believe House of the Dragon couldn’t see why when it brought this reunion to life.
So why include the moment in show? Because that House of the Dragon scene wasn’t about Rhaenyra, Alicent, or even the Dance of the Dragons. It was about a TV show that simply wanted to once again have two great actresses in a scene together. Since there was no logical way to make that reunion happen (at this point in the story, at least), House of the Dragon invented an illogical one.
Is it fun to see great performers with incredible chemistry on-screen together again? In a vacuum, for sure. Do Alicent and Rhaenyra have a complicated and fascinating relationship in House of the Dragon that makes the thought of what they’d say to each other interesting? Again, in a vacuum, yes. And did the scene serve any purpose? It did, because Alicent now knows she helped launch a war on a misunderstanding. That reframes everything she does going forward. But do any of those things justify this House of the Dragon reunion scene’s existence? Absolutely not, because it doesn’t exist in a vacuum. It was too inauthentic and obviously silly to be good. It once again violated everything that has made Westeros a place worth revisiting on Sunday nights, bringing to mind the mistakes of the past.
This wasn’t House of the Dragon’s first time caring about being a TV show rather than an honest story. Rhaenys emerging from the dragonpit only to let her enemies live was just as silly. But this Rhaenyra-Alicent meeting was much worse because of who it involved. Alicent and Rhaenyra are House of the Dragon‘s two main characters, the beating hearts of the Blacks and the Greens. The Dance of the Dragons is their story. Now a big part of their story is them being morons. (We don’t mean Emma D’Arcy or Olivia Cooke, though. Both excelled in that scene despite its inanity.)
As we watch the two Queens’ story continue to unfold on House of the Dragon, we’ll have to think about their meeting scene in the Sept of Baelor, just as we had to think about when Daenerys “ kind of forgot about the Iron Fleet.” That wasn’t really Daenerys’s fault, not like it was Ned Stark’s fault when he got himself killed. It was the fault of its creators then, just as it’s House of the Dragon‘s creators’ fault now. The characters, of course, don’t know they exist on a TV show, and anything that reminds us they do is bad for viewers.
If House of the Dragon continues to worry about making a TV show instead of telling a genuine story, we’ll remember it the same way we remember Game of Thrones’ final two seasons, and those are two seasons we’d rather forget.
Note: A previous version of this post misidentified the sept Rhaenyra met Alicent in as the Great Sept of Baelor.
Mikey Walsh is a staff writer at Nerdist. You can follow him on Twitter and Bluesky at @burgermike. And also anywhere someone is ranking the Targaryen kings.