House of the Dragon Episode 8 Review: The Story Continues Offering Powerful Sequences That Do Not Leave Indifferent
Cast: Paddy Considine, Emma D’Arcy, Matt Smith, Olivia Cooke
Director: Geeta Vasant Patel
Streaming Platform: HBO Max
Filmyhype.com Ratings: 4.5/5 (four and a half stars) [yasr_overall_rating size=”large”]
This review of House of the Dragon Episode 8 can only start from death to tell, obviously without spoilers, one of the best episodes of the season, which once again uses the time factor to stage dirty humanity that tries to exorcise one’s demons. An episode of great writing and acting, which finally seems to give a strong identity to this spin-off prequel very often dominated by the mother series. Against much of the initial expectations, House of the Dragon has managed to attract old and new spectators to it, reviving the style that had made the fortunes of Game of Thrones and consolidating an increasingly intrigued fan base from week to week. From a purely commercial point of view, but also in purely qualitative terms, the work taken from the writings of George RR Martin is taking on all the typical characteristics of great successes and does not seem to fear any comparison.
The consensus, wide both in terms of audience (House of the Dragon also beats Dahmer and Netflix!), both in terms of criticism, is proving the author right, who together with Ryan Condal and Miguel Sapochnik is bringing to the screen one of the most complete and intriguing narratives of his bibliography. After the surprising developments of the last episode (here is our review of House or the Dragon Episode 7), useful to outline the two opposing sides, the show aired on HBO Max prepares the last details before the chaos definitively takes over – what which should happen, as per tradition, with the ninth episode. Let’s analyze the eighth episode together.
House of the Dragon Episode 8 Review: The Story
About six years have passed since Laena Velaryon’s funeral and the scorching family division that ensued. The Black sides, led by Rhaenyra (Emma D’Arcy), Daemon (Matt Smith), and their children, are pitted against Otto Hightower’s Greens (Rhys Ifans), Queen Alicent (Olivia Cooke) and her children. The two groups have had no contact since, harboring a grudge in their discontent as they await further developments on the condition of King Viserys (Paddy Considine), but the unstable situation regarding the Driftmark now creates more than a few apprehensions on both sides. The long absence of Lord Corlys Velaryon (Steve Toussaint) and the uncertainty about his condition lead his brother Vaemond (Wil Johnson) to stand in stark contrast with his wife Rhaenys (Eve Best) regarding the succession of the house.
The agreements provide for Lucerys, son of Laenor and Rhaenyra, to become the new Lord of Altamarea, but Vaemond disputes this decision by bringing to the attention of the crown the rumors about the royal descent of the children of the future queen. While the life of the Blacks continues serenely in Dragonstone, Rhaenyra and Daemon are forced to leave for King’s Landing to guarantee their claim on those territories. The distance and the weight of time will be felt but will also prove how much the sovereign has suffered in recent years and how much his descendants have instead exploited the situation to their advantage. The kids have become young men and now seem ready to put their weight in the dispute, but the decisions on the fate of this further diatribe will bring the king back to assert his word.
The strenuous attempt to quell an already announced conflict will lead to unexpected consequences and moments of great impact, proving the enormous weight of the crown, between the responsibilities and desires of the king. The hoarse and tired voice of the sovereign, initially supported by the people close to him, will however find himself more and more alone in making room for the light. On the thin thread of peace supported with all one’s strength, now hangs oblivion that even fate seems to consider inevitable.
House of the Dragon Episode 8 Review and Analysis
Despite the further leap in time, among the elements that most of all have marked the negative criticisms of the show, also in this case the clear and precise division of events prevails. The episode, in its position as the most preparatory series of sequences possible, manages to build itself scene after scene around the important figure and the voice of the king. Viserys is the epicenter of the whole episode, despite the disputes and despite the claims of others: his pains, his dreams and his hopes are presented to the viewer with all the visual and narrative vehemence of the greatest works.
Paddy Considine is exceptional in delving into the character and his facets at the very worst moment, keeping intact the contrast between a physical weakness and an indomitable inner pride. The interpretation, observed from beginning to end in all its developments, acquires unexpected heights even concerning the reference text: the Viserys of House of the Dragon is profoundly human, in its mistakes as in its choices, and the introspective analysis of a good character, but too weak for this cruel world alone is worth the vision of the series. In what looks like a farewell episode, the scenes that closely observe the king’s efforts deserve to rank among the show’s best.
The eighth episode, dense and pressing in its subplots, imposes a constant alternation between strength/hope and weakness/ruin, marking every moment, from the tears of Emma D’Arcy to the looks of Olivia Cooke. In an episode that seems to constantly exploit tension as its main strength, the direction of Geeta Vasan Patel particularly lingers on the sovereign’s point of view and then gives the viewer moments that seem frozen in time, between the enveloping music of Ramin Djawadi and careful use of close-ups and slow motion. Between Cooke’s exceptional expressiveness and a beautiful parenthesis dedicated to Eve Best, who is entrusted with the most fascinating dialogues of the episode, it is still the talents in the writing room that make the difference.
It is worth mentioning the new cast members, with particular regard to Aegon II and Aemond, who seems perfect for the role. Perhaps, only the effort in markedly distancing the deployment of Rhaenyra from that of Alicent appears excessive in the staging, albeit consistent with the reference material. After all, on closer analysis, even though there are no clear divisions in Westeros, some of the characters involved in these events are close to the extreme. With great surprise compared to the initial expectations, the eighth episode of House of the Dragon keeps the accelerator in check and preserves any explosive implications for the season finale. Focusing on emphasizing the tension between the characters and on presenting the dynamics that should accompany the viewer until the end of the series, the HBO show once again manages to keep glued to the screen without giving up whatsoever, maintaining its quality standard on very high peaks.
As always leveraging the experience of their cast and the beauty of their imagination, Condal and associates intend to overcome themselves from episode to episode: a crescendo is perceived, both in terms of interpretation and analysis. The darkest facets alternate between the king’s sores and sores, but even in the darkest moments brilliant light prevails. The weight of the events, the thickness of the protagonists and the bulk of the production confirm the very high ambitions of the network, which from the ashes of Game of Thrones is completing its climb to new glory.
We had to summarize in a very short time what we are witnessing in House of the Dragon, we could say that – both taken individually and within the narrative universe of Game of Thrones – what we are told are the rise and the fall. Of a kingdom, of a world, of a family. A story that does not present particular novelties in itself, but that shines thanks to how it is told. If in the last episode House of the Dragon had already shown particular attention to the staging and the direction, here we are happy to note how everything is confirmed with an episode that does not seem to have a note out of place.
Both in terms of writing, supported by collective acting so perfect as to leave you stunned, and of pure staging (with a series of silent shots that only thanks to the images tell much more than words could do), The Lord of the Tides demonstrates a rare quality, resulting in a series of sequences that are difficult to remain indifferent to. This an excellent example of storytelling that crosses the entire spectrum of emotions: from tension to emotion, from the cold calculated logic of the struggle for power to emotional outbursts that speak directly to the belly. Olivia Cooke and Emma D’Arcy confirm themselves as two excellent protagonists.
After a couple of episodes in which the choice to replace the main cast had left us dumbfounded, we can say that the two perfectly embody two more mature (and calculating) Alicent and Rhaenyra. Matt Smith catalyzes attention on himself even remaining in the background (but how beautiful his few words, his grumbles, the sarcastic tone with which he grants his voice to the ear of those who mock) and affects Ewan’s interpretation of Mitchell as a grown-up Aemond Targaryen, silent but capable of creating a character full of charm and danger despite having to play with only one eye. But there is one actor who outclasses everyone at this hour of The Lord of the Tides and it’s Paddy Considine.
Ailing body of an aged king, but still driven to believe in his principles, Considine gives Viserys a moving and powerful portrait of a ruler who uses every single strength left to unite the fractured family. Every heavy breath, every movement of the body, every look and every word strikes like the tip of a blade, greatly raising the success of the episode. An incredible sequence speaks for all: the entry of the king into the throne room. An extraordinary moment that contains all the sense of the epic tale, the construction of mythology, and represents on the screen that inexorable time that passes and runs away. Simple and powerful.
House of the Dragon Episode 8 Review: The Last Words
House of the Dragon Episode 8 focuses on the final preparations before the grand finale. Waiting for the ninth episode, in the past the fullest of events with great impact, the show offers a splendid look at Viserys and the situation within the family: between new faces and old glories now much more in-depth, the HBO series has now put all the pieces in place with a final time jump. The Dance of the Dragons seems ready to break out. Intimate and exciting, the story continues offering powerful sequences that do not leave indifferent. Demonstration of very accurate writing and staging, supported by a cast in a state of thanks (especially Paddy Considine). An almost perfect hour that gives the series its own identity that we hope will never lose.
