The following contains spoilers for House of the Dragon.

Prophecies, like power and like faith, matter less on their own than in how they influence people’s beliefs, worldview, and action.

In the pilot episode of House of the Dragon, a young Rhaenyra (Milly Alcock) opines that Targaryens are closer to gods than to men. The presence of dragons and the seemingly ironclad idea that only Targaryens were capable of controlling them only augmented that feeling. When Viserys (Paddy Considine) told her about the prophecy, that feeling was only deepened. And it was seemingly sealed a year or so later when she saw the fabled white hart in the Kingswood, an animal that was said to only appear before those who the gods had favored to rule.

As Rhaenyra grew older, that determination was whistled down by motherhood, others’ constant jockeying for her position, and a complacency in that her fathers’ declaration was that she would succeed him as Queen of the Seven Kingdoms no matter what. The constant tension with the Greens under the same roof was exhausting and the feeling only grew as she failed to perceive a true threat around her.

After Viserys’s death, the divine assurance of her succession was suddenly thrown into question. She lost her son (Elliot Grihault) and his dragon. She demanded vengeance and an infant boy lost his head. She then lost her most trusted advisor (Eve Best) and her largest fighting dragon. Her advisors don’t talk to her like she has any divine right whatsoever, more so as if she were a nuisance. Her first attempt at creating a new dragon rider when up in fire and smoke. With all of this happening in rapid succession, it would be difficult for anyone to believe that they had any divine favor – frankly, the opposite begins to appear much more likely. Then the Red Sowing happens.

Rhaenyra moves between the crowd of illegitimate Targaryen offspring like a preacher before a starving flock eager to believe in something, to have hope in something. It’s a mixture of genuine truth and falsehood, interwoven with the specific idea that this wild idea has to work, no matter what – that, if this doesn’t work, she has lost. In the most book-Rhaenyra expression yet, a fire bursts across Emma’s face as they tame Vermithor. It’s a singular moment, a singular expression of someone feeling an instant return of confidence after an entire season in which it has been waffling the entire time. And that fire, tempered by Vermithor roasting dozens of people, comes roaring back when a new dragon rider comes forth. A moment or so later, there’s another one. If there’s anything that was going to restore Rhaenyra’s faith in her divine right to rule, it’s certainly having three new dragon riders encased around her on Dragonstone – a sight that instantly informs Aemond (Ewan Mitchell) that he’s no longer the biggest game in town.

Notes:

– Apologies for the terseness of this review. It’s been a week!
– The visual effects and sound design work in this episode is simply extraordinary. What an absolute achievement.
– Loved, loved, loved all of the political machinations this week – it really did feel like peak Thrones and I couldn’t be happier.
– Alicent’s depression swim was literally me this weekend, just substitute the lake for a gym pool.
– I think Kat (Ellora Torchia), Hugh’s (Kieran Bew) wife, deserves better – just saying.

Catch up on previous House of the Dragon recaps and reviews.