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Democracy Dies in Darkness
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Democracy Dies in Darkness
StyleArts & Entertainments Power The Media Fashion Of Interest
StyleArts & Entertainments Power The Media Fashion Of Interest



‘HOUSE OF THE DRAGON’ LAMPOONS THE EPIC

In the show’s grisly second season, there is no strategy and no fate. Just lots
(and lots) of bad mistakes.

Review by Lili Loofbourow
June 14, 2024 at 5:00 a.m. EDT

Matt Smith, left, and Emma D’Arcy in Season 2 of “House of the Dragon.” (Ollie
Upton/HBO)

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“House of the Dragon” remains refreshingly free of chess masters.

That might be the clearest distinction between HBO’s odd, fast-moving prequel
about the Targaryens and “Game of Thrones,” which abounded in psychopaths whose
cunning strategies (and savage realpolitik) were supposed to impress viewers
almost as much as they horrified them. For those who came to find the latter
tiresome (partly because the strategies in question were so frequently less
cunning than fiddly and insane), “House of the Dragon” may feel like a respite:
Here is a world where people are people rather than players: less good or bad or
masterful than arbitrary, inconsistent, resentful and messy.


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