Cáceres will be remembered this year for many reasons, with cinematic milestones likely taking the top spot. Dragon House has brought a new level of fame to the city. The town is not a stranger to film magic. The streets have seen appearances by legendary names and productions connected to iconic works, from Sigourney Weaver to Ridley Scott, with a history that stretches back to a time when Game of Thrones showcased the hidden potential of a residential landscape like no other. The city confirms its evolving identity as a hub for international productions, a trend that aligns with its growing cultural and economic footprint.
When international macro productions arrive, Cáceres often finds its memory refreshed. Beyond the undeniable surge in filmmaking, the HBO saga has helped sustain a trajectory that has turned the city into a key location for the capital’s film industry. After their first visit in 2016 to shoot sequences for the seventh season of Game of Thrones, crews returned in 2021 for the prequel, carrying unprecedented anticipation for innovation. Dragon House premiered in the summer of 2022 to millions of viewers. At that time, few could have predicted how central Cáceres would become for subsequent seasons. The confirmation of a second season quickly sparked rumors that filming would return to the city. And that is exactly how things unfolded.
Two years later, with top creative teams and cast reinforcing the city’s status as a major production site, much of the series was filmed to air in the second episode scheduled for 2024. Cáceres became the peninsula’s base of operations, while other seasonal settings—such as Monsanto and La Calahorra—were temporarily set aside for the first season.
A funeral and a decapitated dragon
Filming for The House of the Dragon season two stirred a wave of speculation during shoot week. Fans of the saga eagerly debated routes for the next installment, and official material released during production days kept the conversation lively while protecting spoilers. This built suspense and awareness about what lay ahead for the story.
Early reports highlighted a funeral procession possibly tied to Haelena’s son, Jaehaerys Targaryen. There were also dramatic scenes with a headless dragon prop used in filming around Trujillo. Additionally, aerial work near Los Barruecos suggested that the landscape would play a prominent visual role again, though it remained to be seen whether dragons would circle the skies above the natural setting.
During this latest shoot window, the city remained the focal point for about three months, a stark contrast to the near six months of the first visit. Yet it still marked the largest audiovisual production Cáceres has hosted. The crew, coordinated through a Spanish affiliate of Málaga-based HBO Fresco Films, engaged nearly five hundred professionals from local and international networks. Andrij Parekh, who directed the final season of Succession, oversaw the series’ direction and cast Cáceres with familiar faces like Olivia Cooke and additions such as Emma D’Arcy and Phia Saban.
This high-profile exposure has benefited multiple sectors, from suppliers and logistics to hotels and accommodations, generating revenue that extended over months and into the following year. Local authorities projected an economic impact in the realm of ten million euros.
Beyond economic effects, the series has offered an international lens on Cáceres. Visitor numbers have risen as fans travel to trace filming locations, a trend that began after the 2016 visit and is supported by city-led initiatives that celebrate the saga, including a festival catering to Targaryen enthusiasts. The city’s reputation as a filming destination has grown in tandem with tourism and local commerce.
Yet the discussion around such large-scale productions is nuanced. Critics note environmental and logistical challenges, particularly during intense shoot windows when trucks, dozens of horses, cranes, and dozens of old cars move through historic streets. Facades are sometimes reinforced with reflective materials, pavements are covered for set work, and the logistics of restoring the area after shoots can involve costs and coordination. Debates continue about balancing tax incentives with the need to protect the city’s historic fabric and long-term sustainability. As Cáceres eyes the possibility of a third season, the dialogue around maintaining a unique, livable city while welcoming world-class productions remains active and necessary.