House Of The Dragon's changes to the Battle Of The Gullet make it even more affecting and twisted
At the risk of incurring George R.R. Martin's wrath, season three's premiere wisely detours from Fire & Blood.
Photo: Theo Whiteman/HBO
This article contains spoilers for the season premiere of House Of The Dragon.
The deadliest naval engagement in Westeros history—which sets ablaze the riveting climax of this week’s House Of The Dragon season three premiere—features numerous warships and three dragons attacking each other in an unforgiving environment above the dreary Blackwater Bay. There are likely thousands of casualties by the end, including major blows to Rhaenyra Targaryen’s (Emma D’Arcy) family and army. However, this entire bloody showdown occupies a mere two and a half pages out of 710 in George R.R. Martin’s epic Game Of Thrones prequel, Fire & Blood. His lengthy, intriguing fantasy novel doesn’t dwell too long on the actual Battle Of The Gullet, instead moving on to how it devastates Rhaenyra and affects her plans to ascend to that spiky, coveted Iron Throne.
Still, readers and non-readers alike have been anticipating a battle—any battle at this point, probably—because of season two’s uneven, frequently slow cadence. The sophomore season’s back half had the solid build-up, but no execution of any charged fight between Rhaenyra’s Team Black and King Aegon’s (Tom Glynn-Carney) Team Green. Series creator Ryan Condal fortunately makes up for this by kicking off season three on an action-packed, catastrophic note. His vision of the long-awaited sea battle differs significantly from Martin’s book, but it’s a change that fits HOTD far better and gives the show’s version of the same characters more depth and crises to deal with in the remaining episodes.
The series—really, HBO’s entire spin on Martin’s saga—is no stranger to changing pivotal arcs from the source material. Game Of Thrones did it several times, from eliminating a resurrected Lady Stoneheart (if you know, you know) to having Sansa (Sophie Turner) marry the vicious Ramsay Bolton (Iwan Rheon). Similarly, A Knight Of The Seven Kingdoms switched up on a finale twist, with Egg’s (Dexter Sol Ansell) father, Maekar (Sam Spruell), not officially permitting him to run off as a squire to Ser Duncan the Tall (Peter Claffey). And yet, these changes smartly work to serve the TV shows’ stories.