House Of The Dragon is back – here’s everything you need to know ahead of the new series

Published

1 year ago

June 16, 2024

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It doesn’t get much more hotly anticipated than the first Game Of Thrones spin-off, but House Of The Dragon gave us a brand new story in a familiar world and was largely seen to have lived up to expectations.

The first series, which launched in 2022, was critically acclaimed and won awards – and also gave HBO its largest single-day viewership for a series debut in the service’s history.

But if there was criticism, it was that it was a little slow, too much set-up and not enough action, with decades being covered throughout the season as characters grew up and sides were taken.

Has the pace ramped up for series two?

The second season kicks off where the first left off, with battle lines drawn, blood spilt and two former best friends fighting for the crown – and Sky News has spoken to the cast about what to expect.

Be warned – spoilers for series one ahead.

Team Green v Team Black

“I feel like I was like trying to throw my body over the crack between the Targaryen family,” says Olivia Cooke, who plays Alicent Hightower – a powerful member of the Greens and whose son Aegon was hastily crowned after she claims his father named him as his heir while on his deathbed.

This effectively usurped Rhaenyra (played by Emma D’Arcy) from the Blacks, who claimed she was the rightful Queen as the King’s first-born – and if that wasn’t enough to put them at odds, the series ended with Alicent’s other son killing Rhaenyra’s.

“The chasm is well and truly opened,” says Cooke. “And it’s about management of that and trying to make sure that we don’t descend into bloody, horrible, civil war.

“And the men around us are just so hellbent on having their names in the annals of history, and trying to mitigate that is a nightmare.”

Returning to and expanding Westeros

With the second series commissioned after the first proved to be a hit, D’Arcy says there was a different feel on set when they returned.

“The first time around, we were trepidatious for so many reasons, not least because Westeros is a much beloved site and you need a very good reason to return there. We thought we had one, but even so, a prequel is a big ask of a fandom – you’re asking those people to sort of take a bit of a gamble with you and we knew that there was different ways that that might go.

“I think what was lovely, certainly I felt, it’s very helpful to watch the show and to have a much clearer sense of the job description, the job at hand, the context, the sorts of identity, the aesthetic of the show. But also, I felt certainly that I sort of finally got my Westerosi passport, that I was, you know, no longer a foreigner.”

Fans of the world of Westeros will see more of it this season, says Matt Smith who plays Rhaenyra’s husband – and uncle – Daemon Targaryen.

“The show is evolving and getting bigger and exploring different parts of Westeros, which I think is quite exciting as well. “Hopefully it ticks the boxes it’s meant to.”

Dragon-riding

While both sides of the Targaryen family have access to the ultimate weapon – dragons – wiser members are not in a hurry to use them, knowing the massive amounts of death and destruction that could be unleashed.

But it wouldn’t be much of a series of House Of The Dragon without us seeing plenty of the creatures, and we know that five new ones are being introduced.

For Ewan Mitchell, who plays Prince Aemond Targaryen – the rider of the largest dragon – it’s an opportunity like no other.

“A hundred per cent it’s probably the closest we’ll ever get to dragon riding in real life,” he says. “You are ultimately suspended, 15, 20 foot up in the air, you have a wind machine, you have a rain machine, we use something called the volume, which utilises this game engine which projects the environment around you.

“So it really gives you something to react off, you’re not just playing make-believe, and for an actor, that’s just super liberating – it’s escapism taken to another level.”

One of the show’s most out-and-out villainous characters returning with Team Green is the duplicitous Lord Larys Strong, played by Matthew Needham.

He admits drawing inspiration for the role from a surprising source – the reality show Couples Therapy.

“You know, the doctor – Dr Orna Guralnik, I think is her name,” he says.

“Her quality of listening… I know, I’m sorry, I don’t mean to insult her, but her quality of listening – she’s very focused and attentive, so it takes everything in – was something I thought a lot about. But, I feel like I’m really disparaging her.”

Facts and figures

The first series was made during the pandemic, so an already challenging production was made even more so.

This time around there were fewer restrictions in terms of tests and masks, but the filming was no still no mean feat – with the show made across England, Wales and Spain at its peak, some 1,250 crew were working at one time, and 2,430 were involved in total during the almost six-month-long shoot.

Four hundred costumes were made for key characters, while another 5,000 were created for the supporting cast.

And we know there will be at least one epic battle scene – as it needed 250 extras for weeks at a time.

House Of The Dragon returns to Sky Atlantic on 17 June

Entertainment

Woman charged with fraud over ‘sale of Oasis tickets’

Published

19 hours ago

November 22, 2025

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Woman charged with fraud over 'sale of Oasis tickets'

A woman has been charged with fraud offences over the alleged sale of Oasis tickets.

Rosie Slater has been charged with 11 counts of fraud by false representation, Staffordshire Police said.

The 32-year-old, of Newcastle-under-Lyme, Staffordshire, has been granted unconditional bail and is due to appear in court at North Staffordshire Justice Centre on 11 December.

The charges relate to the alleged sale of Oasis tickets in May.

It comes as ministers confirmed plans to make it illegal for tickets to concerts, theatre, comedy, sport and other live events to be resold for more than their original cost.

Earlier this month, pop stars including Sam Fender, Dua Lipa, Coldplay and Radiohead urged the prime minister in an open letter to stand by his election promise to restrict online ticket touts.

The huge profits made by resellers were put in the spotlight last year when thousands of Oasis fans complained of ticket prices for their reunion tour, with some Wembley Stadium show tickets listed at more than £4,000.

Entertainment

The Stone Roses bassist Gary ‘Mani’ Mounfield dies aged 63

Published

3 days ago

November 20, 2025

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The Stone Roses bassist Gary 'Mani' Mounfield dies aged 63

The Stone Roses bassist Gary “Mani” Mounfield has died at the age of 63, his family has said.

Mani’s brother, Greg, said in a post on Facebook: “It is with the heaviest of hearts that I have to announce the sad passing of my brother.”

“RIP RKID,” he added.

Formed in 1983, The Stone Roses were a mainstay of the “Madchester” scene.

Mani joined the band in 1987 and formed part of its classic line-up alongside singer Ian Brown, guitarist John Squire and drummer Alan ‘Reni’ Wren. He remained with the group until their split in 1996.

Mani’s death comes two years after that of his wife, Imelda Mounfield, who was diagnosed with stage 4 bowel cancer in November 2020. The couple welcomed twin boys in 2012.

The Stone Roses frontman Brown shared a tribute online, writing: “REST IN PEACE MANi X.”

Oasis singer Liam Gallagher said he was “in total shock and absolutely devastated”, describing the bassist as “my hero”.

“RIP Mani – my heartfelt condolences to his twin boys and all of his family,” wrote the Happy Mondays’ Shaun Ryder, whose bandmate Rowetta added: “Back with your Imelda, Mani. Going to miss you so much. All my love to the boys, the family & all those who knew & loved him.”

The Charlatans frontman, Tim Burgess, shared a photo of himself with Mani, writing alongside it: “I shared this photo a week or so ago on Mani’s birthday.

“It never failed to bring a smile to my face – and that was exactly the same for the man himself.

“One of the absolute best in every way – such a beautiful friend.”

Echo & the Bunnymen vocalist Ian McCulloch said Mani was someone “who I have always loved and always will love, deeply and forever. Like a brother”.

He continued: “I am in shock to be honest. Please tell me I’m just having a bad, bad dream. My thoughts and feelings and Mani. Love to all of his family from me”.

The “Madchester” bands were known for blending indie with acid house, psychedelia, and pop.

The Stone Roses’ eponymous debut album of 1989 was a huge success, and was named the second greatest album of all time in a “Music of the Millennium” poll conducted by HMV, Channel 4, The Guardian, and Classic FM.

Entertainment

Half of novelists fear AI will replace them entirely, survey finds

Published

3 days ago

November 20, 2025

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Half of novelists fear AI will replace them entirely, survey finds

The novel has survived the industrial revolution, radio, television, and the internet. Now it’s facing artificial intelligence – and novelists are worried.

Half (51%) fear that they will be replaced by AI entirely, according to a new survey, even though for the most part they don’t use the technology themselves.

More immediately, 85% say they think their future income will be negatively impacted by AI, and 39% claim their finances have already taken a hit.

Tracy Chevalier, the bestselling author of Girl With A Pearl Earring and The Glassmaker, shares that concern.

“I worry that a book industry driven mainly by profit will be tempted to use AI more and more to generate books,” she said in response to the survey.

“If it is cheaper to produce novels using AI (no advance or royalties to pay to authors, quicker production, retainment of copyright), publishers will almost inevitably choose to publish them.

“And if they are priced cheaper than ‘human made’ books, readers are likely to buy them, the way we buy machine-made jumpers rather than the more expensive hand-knitted ones.”

Why authors are so worried

The University of Cambridge’s Minderoo Centre for Technology and Democracy asked 258 published novelists and 74 industry insiders how AI is viewed and used in the world of British fiction.

Alongside existential fears about the wholesale replacement of the novel, many authors reported a loss of income from AI, which they attributed to “competition from AI-generated books and the loss of jobs which provide supplementary streams of income, such as copywriting”.

Some respondents reported finding “rip-off AI-generated imitations” of their own books, as well books “written under their name which they haven’t produced”.

Last year, the Authors Guild warned that “the growing access to AI is driving a new surge of low-quality sham ‘books’ on Amazon”, which has limited the number of publications per day on its Kindle self-publishing platform to combat the influx of AI-generated books.

The median income for a novelist is currently £7,000 and many make ends meet by doing related work, such as audiobook narration, copywriting or ghost-writing.

These tasks, authors feared, were already being supplanted by AI, although little evidence was provided for this claim, which was not possible to verify independently.

Copyright was also a big concern, with 59% of novelists reporting that they knew their work had been used to train AI models.

Of these, 99% said they did not give permission and 100% said they were not remunerated for this use.

Earlier this year, AI firm Anthropic agreed to pay authors $1.5bn (£1.2bn) to settle a lawsuit which claimed the company stole their work.

The judge in the US court case ruled that Anthropic had downloaded more than seven million digital copies of books it “knew had been pirated” and ordered the firm to pay authors compensation.

However, the judge sided with Anthropic over the question of copyright, saying that the AI model was doing something akin to when a human reads a book to inspire new work, rather than simply copying.

Most novelists – 67% – never used it for creative work, although a few said they found it very useful for speeding up drafting or editing.

One case study featured in the report is Lizbeth Crawford, a novelist in multiple genres, including fantasy and romance. She describes working with AI as a writing partner, using it to spot plot holes and trim adjectives.

“Lizbeth used to write about one novel per year, but now she can do three per year, and her target is five,” notes the author of the report, Dr Clementine Collett.

Is there a role for government?

Despite this, the report’s foreword urges the government to slow down the spread of AI by strengthening copyright law to protect authors and other creatives.

The government has proposed making an exception to UK copyright law for “text and data mining”, which might make authors and other copyright holders opt out to stop their work being used to train AI models.

“That approach prioritises access to data for the world’s technology companies at the cost to the UK’s own creative industries,” writes Professor Gina Neff, executive director of the Minderoo Centre for Technology and Democracy.

“It is both bad economics and a betrayal of the very cultural assets of British soft power.”

A government spokesperson said: “Throughout this process we have, and always will, put the interests of the UK’s citizens and businesses first.

“We’ve always been clear on the need to work with both the creative industries and AI sector to drive AI innovation and ensure robust protections for creators.

“We are bringing together both British and global companies, alongside voices beyond the AI and creative sectors, to ensure we can capture the broadest possible range of expert views as we consider next steps.”