‘The House of the Dragon’: The feminist prequel to ‘Game of Thrones’ described by its authors

Those who do not attend are the ‘showrunners’ of ‘Game of Thrones’, David Benoff Y DB Weisshas signed a lucrative deal with Netflix since the summer of 2019. bosses now Ryan County (co-creator of ‘Colony’), superfan and almost godson of Martin and veteran of the main series, Miguel SapochnikHe is the director of major episodes such as ‘Hard House’, ‘The Battle of the Bastards’ and ‘Winds of Winter’. “I contributed to creating a different style, especially in terms of battle scenes,” Sapochnik himself told us via video call.

Simplify the triple story

Unlike the sequel announced about Jon Snow, this prequel is based on a plot that Martin has detailed in writing. Specifically, its unreadable 2018 ‘Fire and Blood’ log, (triple) (false) historical account of former House Targaryen formations. He recalls Condal being difficult to adapt: ​​”It’s not a novel to be used. A master of the Citadel examines three different stories of historical events and tries to find out what really happened because the versions don’t fit together. The book is dotted in Akira Kurosawa’s classic ‘Rashomon’ style. “It’s a polyhedral perspective. This gave us some freedom of action. We chose aspects that caught our attention to create a simple, linear version of a very complex work.”

Set several centuries before “Game of Thrones,” the series traces the roots and course of a civil war between the ancestors of the dragon queen, Daenerys Targaryen (Emilia Clarke). Had the name not been taken, it could have been called ‘Succession’. Aware of the end of his days, King Jaeharys Targaryen (Michael Carter) calls a council of nobility to choose a successor. His grandson Viserys (who had no children living as a candidate)Paddy), along the way Rhaenys (the oldest cousin of the previous one)Eve the Best), just because she is a woman.

Fourteen years later, Viserys himself is as undecided as Logan Roy about who to hand over power to. His wife, who was the victim of multiple abortions, failed to give him a male heir. A logical choice, firstborn Rhaenyra (Milly Alcock), but no woman has ever sat on the Iron Throne before. Vyseris’ younger brother, an indecisive and fierce warrior named Daemon (Matt Smith), seems destined to become heir. Election worries Sir Otto Hightower (Rhys Ifans), the Hand of the King, to the point of putting his daughter Alicent in the arms of Vyseris (Emily Carey), Rhaenyra’s best friend, to be exact.

https://www.youtube.com/watch?v=M5cTWyXfKgY

“This is the story of a female friendship that was broken up by patriarchy at its core,” she says. Emma D’ArcyPlaying Princess Rhaenyra as an adult. In this timeline, Olivia Cooke (‘Slow horses’) Alicent is the king’s wife and thus the queen. D’Arcy continues, “The patriarchy understands that the way to control women is to sow discord among them and pit them against each other. Throughout the series, they seek reunification by fighting against the structure that is trying to divide them.”

Political dramas… but less?

Without really searching, Condal and Sapochnik found a clear central idea for their series: patriarchy would rather self-destruct than let a woman rule. The prologue reads, “He was the only thing that could bring down the Dragon House.” D’Arcy confirms this appropriate feminist angle: “The series talks about female leaders and their shortcomings. One of the questions it raises is: If you are a woman who wants to rule, how do you convince the voters? I think this is a current question. We continue to elect male leaders.”. ‘Dragon House’ focuses on the dangers of childbirth at that time – birth is another battleground – and the sexual violence that women were subjected to by men.

player a few days ago sean beans (former Ned Stark) sparked some controversy when he told ‘The Times’ that the intimacy coordinator figure ruined the sex scenes. The empowered figure in the ‘Dragon House’ just to avoid the temptation to exploit the corpses. This is not the only difference with the mother series: “We wanted the ‘Dragon House’ to sound familiar and at the same time make it clear that it took place one hundred and seventy years ago.“It had to be reunited with Westeros, but obviously in a different era; Even in the medieval period, when technology could progress more slowly than it does now, almost two centuries was almost two centuries. The challenge was knowing what to change and what to preserve in every aspect, from production design to fashion and sensibility.”

“Just because of how they dress, the targaryens were fascists“They are as close to the Aryan race as you can imagine,” Sapochnik said. Yet we try to put ourselves in the shoes of these people, those who do evil without believing what they are doing. Considine’s character is interesting because she’s a progressive Targaryen.”

As if trying to protect the conservative public, Condal talks about ‘The House of the Dragon’ as a ‘funny escape’ and denies that it’s a political drama, ‘even though it has political stuff in it’. He wants us to look elsewhere for lessons. “We weren’t trying to write a high-level project or teach anyone anything. We just wanted to work on the themes and ideas from the first series and present it all in a new way: do the same thing but different.”.