A small boy - a page, let's say - leaves the dead king's bedchamber and makes his way through the empty castle down to the kitchens. The fires are are snuffed in the Throne Room, the Small Council chamber is dark, as is the courtyard.
And smolders, because I mean look at him. Lord Commander Harrold Westerling (Graham McTavish) glowers. She's not the grasping schemer of the book, she's a woman who's deeply troubled by the means those loyal to her are willing to go to - even if she's distinctly untroubled by the end they arrive at. No hint of any such split occurs in Fire & Blood, but inserting one into the series underscores the more compassionate elements of Alicent's character that the showrunners started introducing back in episode one. A reluctant Alicent vies with her more ruthless father Otto - not over whether to crown Aegon the Aess, they're completely united on that front - but over how to go about it and how to deal with Rhaenyra and her allies. Take this week's episode, in which a split occurs among those who back Aegon's claim, the Greens. But the two works still co-exist neatly, if you imagine House of the Dragon as the real events, and Fire & Blood as the history of those events that's filtered down to someone writing about them centuries later. More ruthless, more single-minded, less troubled by stirrings of doubt and empathy. linear, shall we say, than those of House of the Dragon. The characters in Blood & Fire are a lot more. So with the coronation of Aegon II, the triggering event of the Dance, these are our players for the duration. I think it's safe to say we're done with the time-jumps now, as the civil war this show is fixing to dramatize - the so-called Dance of the Dragons - takes place over the course of just three years.
0 kommentar(er)
