It is an understatement to say that marriages are rarely good in the world of George RR Martin, and game of Thrones prequel series dragon house There is no exception. first season of dragon house runs much faster than game of Thrones: five episodes in, and we’ve already covered half a decade in the life of King Viserys Targaryen (Paddy Considine) and the royal family who stabbed him in the back, And Episode 6 will see another time jump, taking the audience forward another 10 years.
Alliances are changing, factions are being formedAnd the animosity is getting deeper. Book readers, as always, know where this is all going. But “We Light the Way” gives its viewers an elegantly constructed recap anyway, helping to keep everything straight as we move on – whether they realize they’re seeing the same thing or not. .
an area where dragon house Excels in creating a visual base that clues the observant audience into what’s to come next. Queen Alicent (Emily Carey) green dress This scene in this week’s episode is a great example of storytelling, like the blood of rats on the dance floor boiling over the dance floor at the end of the episode. (See “Blood and Cheese, Dance of the Dragons” if you’re curious.) These signs indicate where the story is headed. But the episode’s director Claire Kilner’s most elaborately constructed device reminds us where it is, the Throne Room setting. King’s LandingDesigned for a week-long wedding ceremony, there are several sight lines, each of them looking down and/or to the center aisle in the room where “dance of dragons“is gonna be.
Kilner alternates between these perspectives and cuts between medium shots of various characters – Lord Corliss Valerian (Steve Toussaint) and Princess Raines Targaryen (Eve Best), the parents of the groom; the bride’s father, King Viserys, and his second wife, Alicent; Prince Damon Targaryen (Matt Smith), the bride’s uncle and jealous lover; And the lovers and sworn protectors of the bride and groom – who have a stake in the outcome of this marriage. The happy (or at least satisfied, with the understanding that their marriage is a political arrangement) couple remains at the center of the frame as the lords and women gathered rise to join the dance.
Here, Kilner cuts to Alicent’s uncle, Lord Hobert Hightower, who rises from his seat to tell a departing Alicent, “Know that the Old Town stands with you.” As the dance continues, the camera again cuts to Renera’s bodyguard and boyfriend, Ser Kristen Cole (Fabian Frankel) – a bit of a foreshadowing of her final moments in the episode – then cuts to Vale’s Ser Gerold Royce, who He has developed his own reasons for opposing the Targaryen regime. More players have joined the dance, both literally and figuratively.
Although, for the time being, these knowing glances and untold abuses remain within the rare confines of court etiquette, these tensions will inevitably escalate into major conflicts that will mean life and death for thousands of people in Westeros, elite and general. similar. The characters understand the importance of such small, symbolic gestures. Alicent, who is late for Rainera’s wedding banquet, is not the end of their friendship; This is a declaration of war between them. And by blocking and editing the scene to allow the pose, gesture, and sight lines to be read so closely, the show acknowledges their importance as well.
Even Viserys, who generally prefers to ignore the tensions in his court, can’t help but notice the ensuing confrontation between Ser Gerold and them. arrogant brother daemon, But then he looks back on the dance, centering his daughter in the swirling clothing and outstretched limbs. This is Viserys’ fatal flaw: he only has eyes for Renera and his dream of placing the Targaryens on the throne for the next hundred years, failing to see the rats roaming the edges of his grand plan. Lenore and His The bodyguard/lover, Ser Joffrey Lonemouth, is more observant, however, noticing Ser Kristen’s sad expression and correctly guesses that this is why Rainera is satisfied with the “arrangement” with her fiancé. daemonWho used to sneak (and do well) under his brother’s nose, also manages to slip a spot as his niece’s dance partner.
From here, the cutting intensifies and detailed shots of a full dance floor ensues more often, and Kilner brings the camera’s focus back to the Targaryens and Valyrians, who have so far been completely distracted by their own inner dramas. . We don’t see how the fight starts on the dance floor; What we hear is a scream, which eventually turns the attention of the royal families to their guests. The scene of the action is obscured from the high table – a powerful visual metaphor for the Targaryens’ myopia – and Rainera retreats amidst the crowd jockeying. The fight flashes to pieces, and we lose track of Renera and Lenore amidst the chaos.
As the body is hauled away, someone (possibly Visceres) decides that it would be best to get this marriage out of the way as quickly as possible, before anyone else dies. The secret ceremony that follows is held among the scraps of an abandoned feast, which are rotted and gnawed on by rats. For now, it is a symbolic loss and a temporary disgrace. But as personal rancor continues to grow, the “dance of the dragon” will change from a literal dance to a symbolic dance: the dance of swords and knights on the battlefield. game of Thronesand now dragon house, tended to receive a lot of attention and credit for their carefully planned battle scenes; “We Light the Way” approaches the political aspect of the show with a similar filmmaking sensibility, brilliantly outlining the relationship between the two. Party ruined today; Tomorrow, a ruined house.