House of the Dragon season 3 has been marked by ups and downs. For the most part, the spectacle, acting, special effects, set design and overall production have been off the charts; by contrast, the coherence of the writing backing up many of the show's biggest turns hasn't always landed. The same holds for how this adaptation of George R.R. Martin's Fire & Blood treats its source text: highs and lows, surprising flashes of genius and baffling missteps.
Thankfully, season 3 episode 5 bucks that trend and then some by delivering not only a riveting hour of television, but also arguably the best-written installment of House of the Dragon's penultimate season to date. From a doomed march through the Riverlands to insurrection in King's Landing, schemes afoot in Tumbleton, eerie developments at Harrenhal, and plenty of quality time with the show's best duo at Rook's Rest, there isn't a weak link to be found. The season has hit its stride, and won back over much of my confidence from some of its shakier choices in previous weeks. If the show can deliver three more episodes like this one to round out the end of season 3, it will go down as the new high watermark for the series.
We've got plenty to discuss, so let's get right into the recap and review. FULL SPOILERS ahead for House of the Dragon season 3 episode 5.
The Winter Wolf and the Trout
Episode 5 is a sprawling affair, but the spine of its story lies in the Riverlands, where Criston Cole (Fabien Frankel) has begun his guerilla campaign against Daemon Targaryen's host of Rivermen and Winter Wolves. We begin with a beautiful, sweeping shot of the Riverlands encampment, before we learn of Cole's attacks through a meeting between Lord Roderick Dustin (Tommy Flanagan), Lord Oscar Tully (Archie Barnes) and Lord Petyr Piper (Antonio Magro). Roddy the Ruin and Oscar Tully have been long overdue some more screentime, and while this scene marks their only appearance of the episode, it's a welcome one. Both make the most of their limited lines, and the scene itself conveys a lot of information very succinctly.
To sum up: Cole and his men are attacking the Black host, opportunistically inflicting whatever damage they can, whenever they can, and slowing the larger army's march south to Tumbleton. Roddy wants to hunt Cole down and put an end to it, but Oscar decides they should give Cole some of his own medicine. He orders riders to head to Stony Sept to secure the barge there that will allow them to cross, hoping to outpace Cole.
Barely has this discussion occurred than Criston Cole appears like a wraith summoned, viciously murdering Petyr Piper before his men to set as many tents ablaze as they can. As soon as the Rivermen start catching on to what's happening, Criston orders the retreat, and his band of warpaint-streaked soldiers fade back into the night.
It's an immediately gripping start to the episode that promises an even more brutal, bloody ride ahead.
Knights in the Riverlands
Criston and Gwayne Hightower (Freddie Fox) have a siloed narrative in this episode, and their separation adds to the feeling that they're trapped in hostile territory with their situation growing progressively worse. The Kingmaker has very much made his peace with the idea that death lies ahead. Even when Gwayne offers him a place serving House Hightower, Criston remains resolute. He's seen enough horrors in the war, served the Greens and Blacks and too many others besides, that for once he wants to live and die as his own man.
This nihilistic path feels incredibly well-earned for Criston as a character. Ever since Rook's Rest, where he saw dragons trample people like ants and soldiers spontaneously seared to ash, he has been speeding toward resignation. He has no illusions that he's making it out of the war alive, and so the best he can hope for is an end of his choosing, with more meaning than being as unnoticeable as a speck of dust beneath a dragon's foot. This is the culmination of that arc, and it certainly feels like the penultimate chapter in Criston's story before the Butcher's Ball presumably happens in episode 6.
It should come as no surprise then that this is a standout episode for Fabien Frankel as the tortured knight. It's also a very solid one for Freddie Fox's Gwayne, who retains his infectiously endearing optimism and honor in the face of impossible odds, right up until the point where it becomes unavoidably clear that Criston wants this death for himself, and will not be deterred from it even if it gets every man following him killed as well. It's incredibly compelling stuff, and writer Philippa Goslett makes the material sing, even in its bleakness.
While we don't see the Winter Wolves or Rivermen again in episode 5, their presence is felt throughout Criston's increasingly desperate trek across the Riverlands. The gorgeous location shots hide terrible danger, as Criston's band runs into traps laid by their opponents: caltrops, left behind to injure Cole's horses, slowing his men down by forcing them to proceed on foot and crippling their morale in the process. The shot where Criston kills a wounded horse is yet another brutal one in a series of them this episode. There's a casual horror to the way episode 5 unfolds that is felt each time some new act of violence catches the characters (and viewer) by surprise.
The only glimmer of hope Criston gets is a footprint left behind by Vhagar. He doesn't know the dragon is missing or that Aemond Targaryen isn't with her, but the fact that she's still in the region seems to give Cole some small sense of comfort as he searches the sky.
Ultimately, Criston's attempt to stay ahead of the Rivermen host fails. The Blacks reach Stony Sept first and burn the bridge behind them. And while Criston resolves to raft or swim the river on the following day, the reality is that they are now at the mercy of their enemies, who are perfectly positioned to ambush them with an army that has them outnumbered 200 to 1.
The parting of Ser Gwayne Hightower and Ser Criston Cole
The final conversation between Criston and Gwayne may be my favorite scene for either actor in the entire series. For all the bad stuff Criston has done over the years, he's not a maniac or some psychopathic villain like Joffrey Baratheon or Ramsay Bolton. He and Gwayne level with each other as knights, and while Criston may not be highborn like Gwayne, in this way they are complete equals and act like it. I loved Criston reminding the audience that he is perhaps the most skilled warrior in the Seven Kingdoms during this time period, so much so that he once defeated Daemon Targaryen himself in single combat. And of course, the reference to having such a valiant end that songs are written of it is both heartwrenching as well as deeply foreboding for those who have read Fire & Blood.
We leave Criston giving a rousing, honest speech to his weary soldiers, while Gwayne departs to join his cousin Ormund Hightower at Tumbleton. It was hinted that some of Criston's soldiers are debating deserting; we don't see if that comes to pass beyond Gwayne, but the threat of it makes Criston's monologue feel even more ominous than it already does.
No happy ending lies ahead for Criston Cole, the Kingmaker. I'm both eager to see it and dreading the culmination of this grimdark plotline in the Riverlands.
Aemond Targaryen awakens to a changed world
While Criston and Gwayne struggle to stay alive, Aemond Targaryen (Ewan Mitchel) finally awakens at Harrenhal after spending the last quarter of the season absent. The Seven Kingdoms look very different than they did before he raided the haunted castle and killed poor Ser Simon Strong. King's Landing fell to Rhaenyra Targaryen, who now sits the Iron Throne. Vhagar is nowhere to be found. Aemond is tortured by vivid dreams of his brother Aegon burning, complete with subtle audio of Tom Glynn-Carney's screams from "The Red Dragon and the Gold," when the Green king was engulfed in dragonflame in the sky over Rook's Rest.
And of course, there's Alys Rivers (Gayle Rankin). The witch has been watching over the Targaryen prince, guarding him while he sleeps by scaring off would-be mercenaries seeking to claim the reward Rhaenyra is offering for Aemond's head: Harrenhal itself. Her first encounter with goes well enough, with Alys pulling a cool bit of sleight of hand and scaring the cutthroats off with a swarm of bats before vanishing.
It buys Aemond time to come to terms with everything that's changed, wandering the castle shirtless and feverishly looking for Vhagar. Alys informs him the ancient dragon is nowhere to be found; as we saw in Cole's storyline, however, she's still very much in the region. But her absence triggers Aemond's fear of abandonment. This sends him into the arms of Alys Rivers, who hugs him and consoles him. She clearly speaks to his mommy issues as a strong, maternal presence; and surprisingly, she relates by revealing she too, once had a child who grieved for her.
The bounty on Aemond is too appealing for them to stay in solitude for long. The next raiding party that comes is made of sterner stuff, scaling the cliffside by the Godswood to enter the castle by surprise. At least one is Ironborn, threatening to make Alys his salt wife, and he isn't even the most dangerous of the lot. As her threats fall on deaf ears and Alys finds herself at the sword's edge, Aemond bursts into the courtyard and slays the bounty hunters. It's a tense fight scene that gives Aemond (and Ewan Mitchell) a chance to shine. Even though he's not fully healed, he manages to kill the entire party, including one particularly gruesome death where he impales his last foe on a root of the weirwood tree. Ewan Mitchell is easily one of the best swordsmen among the show's actors, thanks to his time on The Last Kingdom, so it's nice to see this season take better advantage of it.
Far from being shaken, Alys Rivers makes a smug comment about Aemond's recovery while they lay on the ground near each other. This episode is the beginning of an arc between these two that fans have been waiting for, and it's off to a strong start, with a good mix of quiet, meaningful conversation and expedited bonding via a life-or-death situation. The scenes used a good variety of settings within the castle as well, making Harrenhal just as much a character as Aemond or Alys. After being out of commission for two episodes straight, it's a relief that Aemond has such a good re-introduction here, setting up his next storyline in the show now that he's no longer tied to King's Landing.
Aegon II and Larys Strong's partnership is put to the test
While Aemond is making the new acquaintance of Alys, his brother King Aegon II (Tom Glynn-Carney) and Larys Strong (Matthew Needham) are getting to know each other better. Hard truths are involved, but in the end they emerge in a much better and more interesting position.
Aegon doggedly leads them away from the relative safety of Rook's Rest, determined to walk to Harrenhal to get vengeance on Aemond for his betrayal in season 2, or maybe to Wendish Town, a semi-distant settlement that Vhagar recently burned, in hopes of catching the younger Targaryen prince on the wing with his dragon. Aegon isn't thinking very clearly, he just knows that he is determined to murder his brother.
All season, Larys has been playing the responsible, ever-suffering shepherd to the king, but finally Aegon's insistence on putting them in danger breaks down his restraint. As Aegon fidgets and reflects on how unfair life is and how Aemond had so many advantages, Larys unloads on him, painting a picture of what Aegon's advantages look like from the outside: eldest son of the king, with the best tutors and trainers in the world, and a dragon so beautiful it was named after sun...and he squandered it. Not only that, he was a terrible person while he did it.
Just like with Criston and Gwayne's final conversation, this crucial turning point for Larys and Aegon is brilliantly acted by Needham, and especially, Tom Glynn-Carney. The way Aegon's leg uncontrollably taps as he talks, his physical tics and the moments where Glynn-Carney chooses to channel or switch up those mannerisms for emphasis, is impossible to look away from.
It's also worth noting how strong the writing is on a thematic level here. Aemond is at Harrenhal, haunted by his betrayal of Aegon; meanwhile Aegon is anonymous in the Crownlands, stewing over that same betrayal. Beneath all the hatred and bitterness, there's still a genuine love that these two have buried for one another, otherwise these emotions wouldn't be quite so visceral.
One last thing to note here: Aegon has a scale from Sunfyre's body. Whether it'll play an active role whenever Sunfyre does awaken or just serve as an emotional tie between dragon and rider, it feels significant.
Welcome back, Tyland Lannister
The fact that Larys Strong finally spoke bluntly to Aegon breaks down the petulant king's resolve, and he follows the other man back to Rook's Rest, assenting to his plan to hire a ship from Duskendale to Essos, where they hope to regroup while Rhaenyra is distracted in King's Landing. But things quickly start turning in unexpected directions before they can leave.
The first turn comes from an unexpected place: the sudden reappearance of Tyland Lannister (Jefferson Hall), who somehow survived getting thrown overboard by Sharako Lohar during the Battle of the Gullet. Given the amount of deviations House of the Dragon has made from Fire & Blood, I assumed Tyland was well and truly dead — which would create some major complications for the show's endgame, where the resilient Lannister has an important role to play. It was a very pleasant surprise that House of the Dragon subverted those expectations by keeping Tyland in the game, and Jefferson Hall is another fun actor to have in the mix with Needham and Glynn-Carney.
As Tyland and Larys debate whether they should change course away from Dragonstone, another major hiccup happens. Aegon sits off to the side while they talk about him, almost as if he's a child who doesn't have a say himself. But while everyone is distracted, Janos (Oliver Coopersmith), the local tough in charge of Rook's Rest, gets word from one of his spies that something seems off. He sneaks up on Aegon and removes his crown from its hiding place, quietly confronting him with it in a way he expects will put the king at his mercy.
Instead, Aegon Targaryen snaps and takes out all his frustration by quickly, efficiently murdering the man, muffling his cries and holding him down as he stabs him to death. He gets another series-high moment as he snarls "You can call me Your Grace," while the tough dies beneath him. As Janos dies, Larys strong sighs in exasperation, and the ghost of a smile flickers across Aegon's lips.
I can't overstate how much I loved this scene. I challenge anyone who wasn't Team Green before it to not feel some shared sense of Aegon's vicious triumph after being beaten down over and over again ever since he was crowned king. It's an absolutely perfect place to leave Aegon, Larys, and Tyland, which has the seeds for a real ascension arc for Aegon where he could not only begin making a comeback for the crown, but have that journey feel deeply earned for viewers as well.
Daeron Targaryen gets a lesson in strategy
The Greens get a lot of love in episode 5, even as many of them are on the ropes or in difficult positions. We get a brief but solid scene with Daeron Targaryen (Benjamin Evan Ainsworth), which is needed as a chaser for his traumatic final act of episode 4. That makes this the only episode of the entire series to date which prominently features all four of Alicent Hightower and King Viserys' children. Daeron is still troubled by his forced murder of Hugh's brother-in-law Leo (Abhin Galeya), which his father figure Ormund Hightower (James Norton) used as a brutal lesson in strict martial rule.
Ormund isn't keen to leave Daeron to his thoughts, however. After receiving word that his plan to stir unrest in King's Landing is working and taking stock of the defenses with Bold Jon Roxton (Joplin Sibtain), we get a wonderfully informative dialogue between Ormund and Daeron that tells us so much about how their relationship, revealing how lightly Daeron must tread around his Targaryen lineage. It also reveals that Ormund is moving full-steam ahead with his plan to make Daeron king, and has gone so far as to have gold coins minted with the young prince's likeness.
The cherry on top is when Ormund delivers the sort of Westerosi history lesson Game of Thrones always did so well, when Daeron calls the Hightower histories dry and Ormund decides to school him in one of his house's greatest losses to Princess Meria Martell, the Yellow Toad of Dorne. The Ice and Fire nerd in me literally shouted at the screen like the living embodiment of that Leonardo DiCaprio meme at this lore drop, because it is good stuff that is so relevant and revealing about Ormund's mindset.
Meria Martell is, essentially, the only leader to actually defeat Aegon the Conqueror, outwitting his armies by hiding her forces and emerging to murder their foes at night. Meria's devious plan to poison wells and use the desert against the Conqueror's army — which included the Hightowers — is the stuff of Westerosi legend, and in this time period it would be a much fresher history than during Thrones. The particular event Ormund references here is not even part of Aegon's Conquest, but the First Dornish War that immediately followed it where the Conqueror continued his attempts to take Dorne and lost again — which led to the death of his beloved sister-wife Rhaenys and her dragon Meraxes. That makes it even more of a deep cut.
Yet while Ormund is giving his smug speech about Meria's genius, being the "only woman truly possessed of a military mind," Daeron beats him at a game of cyvasse by using his dragon piece. The inclusion of cyvasse is yet another A Song of Ice and Fire deep cut — this board game appears prominently in A Dance with Dragons, where Tyrion Lannister plays it with a teenage boy who may or may not have Targaryen lineage named Young Griff. And, as a great little detail, Ormund refuses to use his dragon piece at all during the game, leaving it in the starting position, while Daeron uses it to swiftly press an unexpected advantage.
Ormund gets upset and smashes all the piece from the board, dialing up the tension between him and his ward. It's a great tie around to Gwayne's dialogue with Criston, where he muses about how Ormund was a "thin-skinned twat" even in his younger years. Yet just as it seems this is another ruthless example of emotional abuse, Ormund pauses behind Daeron, and instructs him to "never apologize for victory." It adds so much depth.
I won't lie, I was not a fan of Ormund and Daeron's dynamic in the previous episode, which introduced their dysfunctional relationship in a way that felt kind of out of nowhere and heavy handed. These two do not have this toxicity in the book, so it seemed strange that the show would make them so much darker. But this scene drives home that there is genuine love here as well; Ormund isn't just trying to scare Daeron, he is actually trying to help him and can even give him guidance through his own flaws when the moment calls for it. It took me from being a hater to being extremely engaged over the course of a single scene, and it's such a credit to how writer Philippa Goslett handled their relationship here.
A deadly conspiracy in King's Landing
If Criston Cole's bleak journey across the Riverlands is the spine of episode 5, then the unfurling political turmoil in King's Landing is the rest of the skeleton that holds this hour together. Threads from other plotlines both enter and exit the capital as Daemon Targaryen (Matt Smith) attempts to stop a deadly conspiracy to murder members of the Gold Cloaks.
Meanwhile, his wife Queen Rhaenyra (Emma D'Arcy) grows ever more paranoid. She just keeps on making bad decisions that prove she maybe isn't as well-equipped to rule as she — or the audience — believed. The instability is stoked by the sobering realization that the war isn't quite as won as it seemed and Rhaenyra is surrounded by enemies, with Ormund Hightower operating a hidden assassination campaign from his basecamp at Tumbleton to the south, Criston Cole harrying Daemon's army in the Riverlands to the north, and Vhagar suddenly reappearing to destroy the river village of Wendish Town.
To top it all off, Rhaenyra is alienating yet more allies just as she did Corlys Velaryon (Steve Toussaint); in this case, Lady Sabitha Frey (Sarah Woodward), who is highly displeased to learn that the queen is offering Harrenhal — which Rhaenyra's son Jace agreed to give her in exchange for help in the war — as a bounty for the death of Aemond Targaryen. The conversation grows testy, with Rhaenyra finally intimidating Sabitha into hastily agreeing to take a seat on the Small Council as recompense for losing Harrenhal and drop the matter for now. At least she's got some fun banter with Torrhen Manderly (Dan Fogler) as he catches her up on Rhaenyra's somewhat unusual Small Council members, like Mysaria (Sonoya Mizuno) and the bastard Alyn of Hull (Abubakar Salim).
All this pressure leads Rhaenyra to put the death of two City Watch members on the backburner, with dire consequences. If Rhaenyra had prioritized that, as Daemon suggested, the shocking slaughter that closes out the episode might have been avoided.
Daemon embarasses Rhaenyra in front of her other advisors by publicly disagreeing with her, before storming off to take care of the matter himself, which makes for great drama. This is exactly how the rogue prince would have reacted to a similar situation with Rhaenyra's father, King Viserys; it's refreshing to see Rhaenyra contend with her husband-uncle's rebellious nature even as he serves her with undeniable loyalty.
It turns out that Daemon was right in this instance, which isn't that surprising considering the sheer amount of experience he has; remember, he essentially founded the City Watch nearly 20 years ago, turning it from a disorganized rabble into the brutal peacekeeping force it would remain until Game of Thrones nearly two centuries later. Really, it's kind of insane that Rhaenyra is so adamant not to listen to him. Out of all her current advisors, Daemon is the most experienced by far both on the battlefield and in the ways of King's Landing. His instincts for the city are strong — he isn't called the Prince of Flea Bottom for no reason.
Two dead Gold Cloaks become four, and then Daemon is finally able to draw the queen's attention to the problem. The two share a scene in the Grand Sept, which is spoken mostly in High Valyrian to prevent the deceptively innocuous priests from eavesdropping. This moment is a crucial one for Daemon and Rhaenyra's relationship, and how the inner workings of their minds are beginning to push them apart. Now that Rhaenyra knows there is an actual plot afoot to kill members of her City Watch, she spirals even harder into paranoia. Even though she's right to fear this treachery, the way she talks about it sounds completely unhinged — and like it will only lead to more fear, rather than any tangible solution. She tries to pin the conspiracy's continued existence as Daemon's failure, even though he's been trying to address it all episode while she's been obsessing over Vhagar, which is just one more notch in her belt of bad calls.
Daemon, meanwhile, is becoming more and more disappointed in the queen. He finds it amusing that she's in a sept, praying to the Seven as a way to try and appeal to the High Septon in hopes he'll change his mind and anoint her. Daemon believes Rhaenyra needs to be strong — and smart — and her actions aren't really embodying either. When she accuses him of being outfoxed by whoever's orchestrating the killing spree, they part on bitter terms.
This High Valyrian scene is exceptionally well done on pretty much every front; writing, acting, the set and cinematography and natural light from the candles illuminating the scene. Daemon and Rhaenyra's partnership is not at the forefront of this episode with everything else going on, but in this moment, it's clear something is fracturing.
Fare thee well, Ser Luthor Largent
As the killings mount, Daemon needs to get the Gold Cloaks behind him if there's any hope of stopping things before they get worse. He gives a rousing speech to the men that seems to appease them for now, even as their commander Ser Luthor Largent (Tom Cullen) warns that many are too young to have any loyalty to Daemon, who last commanded the City Watch nearly 20 years ago. Factor in that Rhaenyra decided to give all the money Daemon secured from the Vale away as alms for the poor rather than pay her own guards, and it's a recipe for disaster even if the rogue prince managed to delay it somewhat.
The reprieve does allow Daemon and Ser Luthor to figure out who is behind the killings, though. After a brutal torture scene, they find a coin on one of the cutthroats responsible — one bearing the head of "King" Daeron Targaryen. But the news that it's Ormund behind the murders only furthers the schism between Daemon and Rhaenyra, because if she had just listened to him and burned Ormund's army at Tumbleton when they had the chance, they wouldn't be in this mess. Whether that decision would have been worth all the innocent casualties, only time will tell.
The episode ends with a shocker scene, as Daemon returns to the Gold Cloak barracks to find them dark and abandoned. As the sinking feeling of dread sets in, he discovers a horrific tableau: all the members of the Gold Cloak leadership including Ser Luthor Largent, murdered and arranged at a dinner table with the words "A Feast for Traitors" written above them in blood.
Luthor wasn't a major presence on House of the Dragon, but the show had done a really good job of introducing him and making him feel important for the four episodes where he appeared. Considering he lasts a bit longer in the book, this death feels like a genuine shocker for longtime fans and newcomers alike. It may not be as impactful as killing a core cast member, but in its own way, it shocked me even more than the deaths of Jacaerys Velaryon or Otto Hightower, because this episode set the trap and then pulled it off with such concision. It's a perfect example of how tight writing can make even the death of minor characters hit like a ton of bricks.
There's one other major development in the Rhaenyra and Daemon plotlines that needs mentioning: Rhaenyra's eldest son with Harwin Strong, Joffrey, has arrived at King's Landing. He's now the new heir to the Iron Throne...yet the queen didn't even make time to greet him. Rhaenyra brushes off his request to see her, only to regret it later when he falls asleep while waiting up for her to finally visit. It's a melancholy turn that drives home yet again how Rhaenyra's priorities are getting away from her.
Helaena and Alicent, trapped
The final plotline we need to discuss of episode 5 is the pregnancy of Helaena Targaryen (Phia Saban). This surprising development went almost under the radar in episode 4, but now it's front and center as Alicent Hightower (Olivia Cooke) tries desperately to find some way through while the walls close in around them. If Helaena carries this baby to term and it's a boy, it will mean Rhaenyra basically has to kill him or keep him as a permanent prisoner, since he'd be another claimant to the Iron Throne.
Alicent wants Helaena to take moon tea to avoid all that, but Helaena refuses. Phia Saban gets some of her best material all season as it becomes clear that Helaena isn't willing to sacrifice another child, not after losing her son Jaehaerys to the assassins known as Blood and Cheese in season 2.
However, their options are limited. Grand Maester Orwyle (Kurt Egyiawan), who gave Alicent the moon tea, informs her that he can't keep helping them because of the increased scrutiny he's under from Rhaenyra. When Alicent tries to lead Helaena out of the Red Keep through the tunnels in Aemond's old room, they're caught by Mysaria, who's quickly caught on to the fact that they're keeping a secret.
This is a good episode for Mysaria in general, as she remains one step ahead of Alicent, despite repeated attempts to deceive her. When she finally catches them mid-escape, Alicent appeals to Mysaria's self-interest, recalling her past as the White Worm, a spy master who played all sides for her own gain. While Mysaria professes loyalty to Rhaenyra, even she can't deny that it seems like the new queen is cracking under the pressure. It's unclear if she'll keep Helaena's secret, but given where things end up at the end of the episode, I doubt it'll stay hidden for long.
After Mysaria leaves Alicent and Helaena locked in their room, one of the many cats now roaming the Red Keep to help with the rat problem discovers a draft, which leads to the two women uncovering another entrance into Maegor the Cruel's tunnels beneath the Red Keep. They take it, hoping to explore and find a way out, but become trapped when they accidentally drop their torch. We leave Alicent and Helaena in the dark, in the tunnels, and in the most interesting place they've been in all season.
Beyond the solid plotline for these two this episode, I also need to shout out the strength of the moment-by-moment writing. After more than half a season without a single direct mention of the murder of young Prince Jaehaerys, Helaena finally brings him up in heartwrenching fashion when Alicent tries to get her to use the same tunnels as his murderers. She also shows her mettle when she refuses to leave behind Jaehaera, while Alicent is seemingly fine abandoning her granddaughter. And Mysaria and Alicent's interplay is excellent as well; I especially loved the moment where Alicent tries to lie about what the tea is, only for Mysaria to immediately clock that it's moon tea, which in turn forces Alicent to drink it herself and admit to previously using it back in season 2 when she feared she was pregnant with Criston Cole's baby. It's just good, solid stuff all around, and I wish every episode of this season has the same razor sharp delivery.
Verdict
House of the Dragon season 3 episode 5 isn't the most groundbreaking episode of the series, but it makes up for its lack of major showstoppers by simply being an exceptionally well-crafted hour of television that never lets up on the viewer, delivering intriguing developments, shocking twists, and stellar character moments in scene after scene after scene. This is the first episode of the season that really reminded me of classic Game of Thrones at its best, and I really can't offer better praise than that. If the rest of the season can hold to this high bar, we may be in for the best run of episodes in the show yet.
Episode grade: A+
More House of the Dragon season 3 recap reviews:
- Episode 301: "Sea and Salt, Fire and Blood"
- Episode 302: "Queen's Landing"
- Episode 303: "Rhaenyra Triumphant"
- Episode 304: "Tumbleton"
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