Stefan Sasse and I are back with our latest weekly BLAH, this time focusing on House of the Dragon Episode 9! Listen here or wherever you get your podcasts!

The latest iteration of my House of the Dragon character guide is now up at Vulture, covering the events of episode 9. Brush up before the finale!

Perhaps it’s too late at this point to ask, but does some part of Ser Criston still love Rhaenyra?

[Smiles ruefully.] First love is first love. I think everyone will always love the person that they fell in love with for the first time. From the first time you hear a beautiful piece of music, you’ll always love it, even if you’ve heard it a hundred times, because you remember that first time you heard it. So yeah, he will always love Rhaenyra.

I interviewed House of the Dragon star Fabien Frankel for the New York Times.

Okay, so: Why didn’t Rhaenys just torch the royal family and the whole Green crew?
[Laughs long and hard.] I know! The temptation is there, right? In the end, she makes a bigger choice. We see that at the moment with what’s going on in Ukraine; to choose not to destroy is the better choice. That’s an important thing for us all to remember right now.

It’s why she would have made such a great leader. She had, in that moment, all the power. Yet she has respect for Alicent as a woman and a mother. They understand being in the grip of other people who might torch them. They know the only right choice is not to go there. Furthermore, it’s the intelligent choice, on her part, not to torch a whole bunch of innocent people in the room. What’s to be gained? In the end, it’s not her battle.

The escape she makes on the dragon is something that’s been brewing since that very moment she was passed over wrongly, unjustly, for the crown. It’s this yearning just to get the hell out and get away from the whole ruddy lot of things. When she bursts out of that arena, she’s internally saying, “Fuck you all.” It’s more about that than a need for revenge or destruction that the men might’ve jumped onto. She’s breaking her own glass ceiling.

I interviewed House of the Dragon star Eve Best for Vulture.

Writer Sara Hess and director Clare Kilner give the whole affair the vibe of a tense political thriller, as alliances are forged and broken and various players jockey for position in the new regime. Much of this is achieved through deft character work that helps shore up some of the show’s shakier decisions.

For example, is it a little annoying that Alicent decides to crown Aegon instead of Rhaenyra due to a sitcom-style mix-up involving Viserys’s dying declaration? Sure. But it’s worth noting how duty-bound she seems to feel about it; as far as she’s concerned, she’s doing the right thing and honoring the late king’s wishes, not gleefully screwing her frenemy over. In fact, she fights — hard — to keep Rhaenyra alive in the face of opposition from no less than her own father. Actor Olivia Cooke threads this needle with aplomb.

Similarly, Rhaenys’s decision not to roast the whole royal family comes across as foolhardy, at least at first. But keep in mind that, like Alicent, the older woman is trying to avoid a war, not start one. If she were to inaugurate her former daughter-in-law Rhaenyra’s reign by sneak-attack slaughtering Aegon II, Otto, and Alicent, as well as innocents like Aegon’s sister-wife Helaena, how would that help anyone?

(One quick note: Helaena appears to have foreseen Rhaenys’s dragon attack, muttering about “a beast beneath the boards” earlier in the episode. Pay attention to this one, folks.)

Then there’s Aegon himself. He’s a thoroughly contemptible person, and he both knows it and hates himself for it, as conveyed through a remarkable performance by actor Tom Glynn-Carney. He has no desire to be king, and says so; he thinks his mother’s claim that his dad declared him the heir on his deathbed is bullshit, and says so too. But once he hears the roar of the crowd, he begins to change his tune, holding his legendary sword Blackfyre aloft and pumping it to pump up the people. Given that his only hobbies appear to be drinking and making weaker people suffer, that’s not a good sign.

I reviewed last night’s episode of House of the Dragon for Rolling Stone.

Stefan Sasse and I continue our breakneck pace of reviewing big genre shows with our latest podcasts on Andor, which we love, and The Lord of the Rings: The Rings of Power, which we do not love. The latter is the first time I’ve done a podcast where I got so emotionally exhausted that I literally had to ask Stefan to stop the episode. How’s that for a selling point? These are both Patreon exclusive, so go subscribe and listen!

Change is value neutral. I’ve said this before, and I’ll say it again. The process of adaptation from source material to new material, from one medium to another, is tricky and complex and prone to being misunderstood by just about everyone. Books are not film, books are not television, and hell, film is not television; these are distinct media with distinct strengths and weaknesses and demands. In adapting one to another, change to the origin is necessary to suit the strengths and weaknesses and demands of the destination. The passage of time and the emergence of new social norms is another factor that deserves consideration. And of course there are the tastes and talents of the artists involved to consider. 

Any one of these points, much less all of them in tandem, serves to explain why alterations are, in the end, simply alterations, neither good nor bad in and of themselves. The question is not “Did this adaptation change anything?”, but rather “Were the changes the adaptation made to the source material beneficial, given the new medium involved? Did they enhance the source material’s strengths? Did they improve upon the source material generally? Were they true to the source material’s tone and themes? Did they make the adaptation stronger than a more direct and literal transposition from one medium to the other would have been?”

We have finally reached the end of The Lord of the Rings: The Rings of Power’s first season, helmed by J.D. Payne and Patrick McKay, And we have our answers. Were the changes The Rings of Power made to J.R.R. Tolkien’s source material beneficial, given the new medium involved? No, they were not. Did they enhance the source material’s strengths? No, they did not. Did they improve upon the source material generally? No, they did not. Were they true to the source material’s tone and themes? No, they were not. Did they make the adaptation stronger than a more direct and literal transposition from one medium to the other would have been? No, they did not.

I reviewed the season finale of The Lord of the Rings: The Rings of Power for Decider. As I say in the review, this show was a crushing disappointment.

Stefan Sasse and I review House of the Dragon episode eight in the new Boiled Leather Audio Hour, available here or wherever you get your podcasts!

I’ve once again updated my weekly House of the Dragon character guide for Vulture to reflect the events of the most recent episode. Check it out!

Olivia, I’ve seen a lot of debate over the end of this episode, when Viserys mistakes Alicent for Rhaenyra and tells her about his ancestor Aegon the Conqueror’s prophecy of a messianic “Prince That Was Promised.” She mistakenly believes Viserys is referring to their son, Aegon. Does she fully believe it, or is she hearing what she wants to hear?

COOKE We spoke a lot about this. There was a massive amount of relief when Alicent told Rhaenyra, “You will make a great queen.” She’s so over the fighting and having this ball of bitterness and anxiety in her stomach: Just let it go, Rhaenyra is the heir, this is fine.

When Viserys says that, I genuinely think she thinks he’s talking about Aegon, her son. And I think she’s furious. She’s like, “After all that?” But Viserys is on his deathbed; that’s what he requested, and so she must follow it through. Whether that’s unconscious wishful thinking, I don’t know, but that’s how I played it.

Emma, this is shifting gears pretty dramatically, but there’s a video clip of you telling Olivia that your favorite drink is “a Negroni Sbagliato with prosecco in it” that went viral on TikTok and Twitter and inspired a numberofarticles. Is this something you’re aware of?

D’ARCY I thought it’d be quite funny to be drinking one right now, but I’m not. [Laughs.] I keep thinking I should tell my mum that I’ve become a meme in the hope that she’ll be happy for me, but I’d have to explain what a meme is, and I’ve decided it’s too much effort.

I feel so embarrassed. Because in those interviews, when we’ve been at it for six hours, I’m honestly only trying to make Olivia laugh.

COOKE [Laughs.] Is that right?

D’ARCY No, I’m obviously doing Campari’s next campaign.

COOKE I’d be like, “Ten million pounds, please!”

I interviewed House of the Dragon stars Emma D’Arcy and Olivia Cooke for the New York Times.

Yet the show’s decision to utilize the Ice and Fire prophecy to once again weaponize Alicent against Rhaenyra, mere hours after they reconcile, is a much tougher sell. It’s possible Alicent is just hearing what she wants to, deliberately ignoring her dying husband’s obvious confusion and dementia because his garbled words match what she still desires. But if it turns out that she sincerely believes she and her son are the chosen ones, it replaces so much of the show’s careful character work with the blunt force of fantasy, a shaky foundation for the divided House. We’ll steer clear of issuing our own prophecies on the matter, though, preferring instead to just stay tuned.

I reviewed tonight’s episode of House of the Dragon for Rolling Stone.

Stefan Sasse and I return with our regularly scheduled weekly series, focusing on this week’s episodes Andor and The Lord of the Rings: The Rings of Power, both Patreon exclusives! Subscribe and listen!

I’m fond of saying that when it comes to adapting a work of art from one medium to another, “change” is value neutral. The mere fact that something is different in the TV or movie version than it was in the book is not an artistically or aesthetically meaningful thing in and of itself; what matters is whether the change improves the adaptation or weakens it. In all the cases outlined above, I cannot for the life of me figure out how altering these basic facts of the agreed-upon timeline of Tolkien’s Middle-earth improves anything. They make the story less coherent, they substitute bait-and-switch character disappearances and deaths for actual meaningful developments, they flummox hardcore Tolkien nerds like me while, I suspect, adding nothing of particular interest to newbies and casuals. 

Disa’s fire, Durin and Elrond’s friendship, the Stranger’s isolation, Elendil’s quiet dignity: This is where The Rings of Power’s power lies, not in turning Galadriel into a badass or pretending Isildur is dead or acting like we in the audience have no idea what and where Mordor is. (And btw, if you must treat the Mordor reveal as a reveal, why not have Adar proclaim the new name and then end the episode, instead of using that goofy “THE SOUTHLANDS/MORDOR” text to do it?) None of this is a dealbreaker of course; plenty of shows have rebounded from weak first seasons to achieve goodness, even greatness. It’s just hard to imagine a show with this kind of money behind it, these resources, the attention of the Eye of Bezos Himself, being granted the room to grow and breathe and change. I fear that what you see is what you get, no matter which eye you’re looking through.

I reviewed this week’s episode of The Lord of the Rings: The Rings of Power for Decider.

I love Laenor. He’s a wonderful guy in a terrible situation. I was thrilled watching him get away. I’ve had so many lovely messages from people; someone told me they whooped when he escaped. Like, they cheered.

I did, too!
I’m so pleased! I remember Miguel saying, “No one gets to be happy in Westeros for very long.” It’s amazing that there’s this moment of relief.The escape was one of the first things I did. It was a really stormy day, and we were out in the ocean in this massive hundred-year-old boat, which was both exciting and terrifying. To see it in the context of the episode was really gratifying.

But, of course, this is Westeros, and there’s no such thing as a completely happy ending. In order for Laenor to get away, that poor Velaryon servant had to get murdered by Daemon so they’d have a decoy.
[Laughs] Oh, God. You’re a very moral, empathetic person. And now I feel deeply ashamed that I did not grieve for that poor member of the working classes who was collateral damage so that Laenor might have a shot at a decent life.

I interviewed House of the Dragon‘s John Macmillan for Vulture.

My HotD Character Guide for Vulture has received its biggest update yet! Come check out who the hell all these people are and what the hell all these people are doing!

A CHILD RUNS across the moonlit sands. As the stars shine down into the ocean nearby, the boy approaches a dragon asleep on the beach — Vhagar, massive and ancient, the largest and oldest animal in Westeros. Determined to seize what he feels is his birthright, he braves the beast’s searching eyes and fiery gullet, climbing up the rope ladder to its back dozens of feet off the ground. Commanding the creature in an ancient tongue, he drives it into the sky, taking flight at long last. The boy shakes, tumbles, hangs on for dear life…but in the end, he stays in control. A child, commanding the most dangerous thing in the world.

That’s the mythic imagery and power around which this episode of House of the Dragon (“Driftmark”) centers: young Aemond Targaryen, the second male offspring of King Viserys — the son and heir of nothing in particular, as the old song goes — seizing control of his late aunt Laena Velaryon’s legendary reptilian steed. If only it were all this poetic and magical. Unfortunately for Houses Targaryen and Velaryon, Laena’s funeral and the events that follow mostly play out like a slow-rolling disaster. Alliances are formed, old friendships are severed forever, and the realm will likely never be the same.

In other words, it’s a royal family gathering in Westeros. What else did you expect?

I reviewed tonight’s episode of House of the Dragon for Rolling Stone.

My Illustrious Co-Host Stefan Sasse and I continue our breakneck podcasting pace with new Patreon-exclusive episodes on The Lord of the Rings: The Rings of Power Episode 6 (disappointing!) and Andor Episode 4 (invigorating!). Go subscribe and check ’em out!

Offered the job on House of the Dragon before she knew how many life stages and child actors the casting would require, James began with the older performers. “We cast the elder generation, Emma D’Arcy and Olivia Cooke, first,” Condal notes. “The challenge was in finding two young actors who not only had an ability that measured up to Olivia and Emma’s considerable talents, but who also looked like them.”

“You cast Emma, who is in my mind one of the most extraordinary actors of their generation; that was a slow process, as you can imagine,” James elaborates. “Once you get them cast, you say, ‘Can you send me pictures of Emma when they were younger?’ That informs and steers you.” Fortunately, James had a young actor in mind.“I’d already seen Milly in Upright, and I met her when she was in London when she was about 18,” James continues. “The luck is that when you cast Emma, I suddenly went, ‘Oh my God, Milly is a doppelgänger.’”

Similar synchronicity took place with the casting of Alicent, though other factors were at play. “We were blessed that Emily has an almost identical profile and demeanor” to Cooke, James says. “There was a bit of worry at one point because Emily had to have a scene where she’s in bed with Paddy, who’s 47, and she’s 18. She had just turned 16, I think, when we cast her; I thought, Oh God, should we be casting so young? And we said, ‘Yes, because that’s the point. That is the cruelty of the story: These two really charming best friends are royally fucked over by their fathers and everyone around them.’”

I spoke to House of the Dragon co-creator/co-showrunner Ryan Condal and casting director Kate Rhodes James about the challenge of double (and triple) casting the show’s characters for Vulture. This was a really fun and informative piece to put together, and I hope you enjoy it!

As it turns out, Adar’s whole deal is absolutely fascinating: He is a first-generation orc, one of the original Elves whom Morgoth tortured and warped to create his race of minions. (He also claims that he killed Sauron, which, okay buddy, but that’s neither here nor there.) If you’re deep into Tolkien lore — as, presumably, a decent chunk of the audience for a show set in Tolkien’s Second Age would be — this is a glimpse of something we’ve never seen before but have been wondering about since…well, in my case, since I first read The Hobbit at age four. Wouldn’t it have been so much more interesting for the show to make his origin clear immediately, thus getting the audience invested in who he is rather than who he might be, instead of erroneously presuming that mYsTeRiEs are the be-all and end-all of fantasy narratives?

Please recall that there are approximately zero “mysteries” in Tolkien’s work: Aside from the origin of Gollum and the Necromancer, which are irrelevant when they first show up in the text, everything you need to know is spelled out almost immediately, with Tolkien counting on his inventive skill to engross you all by itself. Which it does!

I reviewed this week’s episode of The Rings of Power for Decider.

We’re back, baby! Stefan Sasse and I return for the latest (still can’t believe I’m saying this) weekly episode of the Boiled Leather Audio Hour, this time focusing on House of the Dragon episode six. Available here or wherever you get your podcasts!