The abrupt blackout at the end of House of the Dragon's Season 2 has sparked outrage among TV enthusiasts reminiscent of The Sopranos' controversial finale, leaving them fuming. The season had been building towards a colossal struggle for Westeros's sovereignty – a multi-faceted war teeming with colossal armies, sky-high stakes, and an abundance of fire-spitting dragons that promised to ignite the screens. Yet, to witness this spectacle, viewers must endure a prolonged hiatus until Season 3 arrives, as Sunday's finale abruptly halted mere moments before the anticipated battle raged ("The season finale's climax being mud wrestling? Unbelievable," lamented a disgruntled viewer).
For ardent fans, the finale echoed a sense of déjà vu, echoing the first season's cliffhanger that tantalizingly teased "war is coming!" Now, Season 2 concludes with the same haunting refrain. HBO's pre-season hype, fueled by contrasting Green versus Black trailers and a viral campaign dangling rival Targaryen banners at historic sites, had teased an epic civil war that would shake the foundations of this franchise renowned for its monumental confrontations.
Yet, amidst the hype, Season 2 often found its protagonists, Rhayerya (Emma D'Arcy) and Alicent Hightower (Olivia Cooke), confined to their castles, mired in mundane council meetings, while the beloved Daemon (Matt Smith), surprisingly sidelined to Harrenhal, engaged in similarly mundane castle politics, punctuated by dreams and ominous premonitions. This particular Daemon arc bewildered fans, as it felt more suited to a seasoned character in a sprawling series with episodes to spare, rather than a highly popular figure in the midst of an intense, eight-episode sophomore season.
Concurrently, fans' adoration for the finale's offerings was palpable, especially the captivating, taut confrontation between Rhayerya and Alicent that had audiences weaving in and out of those castles with ease, Daemon's prophetic vision subtly teasing a glimpse of Daenerys Targaryen from the past series, the captivating introduction of Abigail Thorn as Sharako Lohar, and the soaring score by composer Ramin Djawadi. One enthralled viewer aptly remarked, "The #HOTD finale overflowed with excellence, leaving me nothing short of awestruck."
However, the brevity of the season, a mere eight episodes, has left a bitter aftertaste, especially when juxtaposed against the initial season's ten episodes. According to Deadline, a pivotal battle was reshuffled from season two to three, a decision that has sparked debate. Showrunner Ryan Condal rationalized the shorter runtime as a means to ensure a robust opening and a satisfying conclusion, yet writer-producer Sara Hess, quoted in EW, revealed it was "not truly our preference."
The season's filming coincided with the WGA and SAG-AFTRA strikes, though the cast's Equity union status granted an exemption, yet this adjustment followed the completion of scripts. HBO has maintained that the episode adjustment was narrative-driven, unconnected to the cost-cutting measures enacted under Warner Bros. Discovery's leadership shift. Regardless of its merits, it almost seems as if the phenomenon of "shrinkflation," which has infiltrated from cookie packages to baby diapers, has now extended its reach into the realm of streaming entertainment.
