George R.R. Martin Deletes Statement Slamming ‘House Of The Dragon’

The “Game of Thrones” prequel series was slammed online for its lackluster conclusion to season 2, but that is not what Martin has a problem with. Instead, he has a problem with one character who was omitted from the show.

Although Martin is concerned that this missing character will create a “butterfly effect” of consequences later on in the show’s run, he deleted his post following a statement from HBO.

George R.R. Martin may have deleted his blog post, but it still caught the attention of many fans. The author called out the show’s co-creator and showrunner, Ryan Condal, for several changes that he made adapting his book “Fire & Blood.” In the book, Aegon and Helaena have three children, including two twins who play a pivotal role on the show in the second season. However, fans of the book know that the couple has three children: 2-year-old Maelor, who was cut out of the show.

In the season two premiere, fans were treated to the infamous “Blood and Cheese” sequence, in which Blood and Cheese killed one of her twins. In the book, she offers her own life in order to save her children. In the show, she tries to bribe them with jewelry. Martin was quick to call out the change in his blog post, noting how he “hated to lose that” sequence of events.

In his deleted blog post, Martin wrote, “I still believe the scene in the book is stronger,” as per The Hollywood Reporter. “The readers have the right of that. The two killers are crueler in the book. I thought the actors who played the killers on the show were excellent… but the characters are crueler, harder, and more frightening in FIRE & BLOOD. … I would also suggest that Helaena shows more courage, more strength in the book, by offering her own own life to save her son,” he continued. “Offering a piece of jewelry is just not the same … As I saw it, the ‘Sophie’s Choice’ aspect was the strongest part of the sequence, the darkest, the most visceral. I hated to lose that. And judging from the comments on line, most of the fans seemed to agree.”

He also addressed the decision to exclude Maelor from the show’s second season. “Ryan had what seemed to be practical reasons for it; they did not want to deal with casting another child, especially a two-year old toddler. Kids that young will inevitably slow down production, and there would be budget implications. Budget was already an issue on HOUSE OF THE DRAGON, it made sense to save money wherever we could,” Martin wrote. “Moreover, Ryan assured me that we were not losing Prince Maelor, simply postponing him. Queen Helaena could still give birth to him in season three, presumably after getting with child late in season two. That made sense to me, so I withdrew my objections and acquiesced to the change.”

In the deleted blog post, George R.R. Martin includes a list of important events that will unfold over the show’s next two seasons, as Condal had already announced that the show will end after four seasons. The author openly pondered which of these spoilers will ultimately be cut from the show, considering they are missing a key character to help them unfold.

“Will any of that appear on the show?” Martin asked after listing a few events from the book. “Maybe… but I don’t see how. The butterflies would seem to prohibit it … From what I know, that seems to be what Ryan is doing here. It’s simplest, yes, and may make sense in terms of budgets and shooting schedules. But simpler is not better … Maelor by himself means little. He is a small child, does not have a line of dialogue, does nothing of consequence but die… but where and when and how, that does matter.”

Martin then got cryptic, adding, “And there are larger and more toxic butterflies to come, if HOUSE OF THE DRAGON goes ahead with some of the changes being contemplated for seasons 3 and 4…”

Within hours, George R.R. Martin deleted his blog post and HBO released the following statement:

“There are few greater fans of George R.R. Martin and his book Fire & Blood than the creative team on House of the Dragon, both in production and at HBO. Commonly, when adapting a book for the screen, with its own format and limitations, the showrunner ultimately is required to make difficult choices about the characters and stories the audience will follow. We believe that Ryan Condal and his team have done an extraordinary job and the millions of fans the series has amassed over the first two seasons will continue to enjoy it.”

In the season’s final episode of the Official Game of Thrones Podcast: House of the Dragon, showrunner Ryan Condal also addressed Martin’s concerns about changing the story.

“The writing that we do on the show is always available to [Martin],” Condal said, as per THR. “The things that we create and do, we show casting tapes and cuts, and when there are art department presentations we put together before the start of a season, everything is made available to him. And I’ve always taken aboard his feedback wherever possible. There are, of course, places where we have not agreed and and departed. And some of those things are just things that are a specific condition in the making the show.”

“Telling a subjective story, not telling the objective history. We can’t do 17 set pieces across the making of the show. We have to pick our spots. And the trick with this show is when you go big, you have to go really big, but you can’t go big everywhere. I’ve always tried to take aboard the notes. I’ve always tried to pivot and make the thing work. Does this help or does this help? Sometimes I think it works and connects and other points, it doesn’t,” he continued. “And I’ve accepted that. I’ve had to accept that as a condition of being a showrunner on a giant franchise.”

Condal went on to say, “Television just moves. It’s a giant moving train, and it’s very heavy. And even though it takes two years to make the show, it happens very fast. The job of showrunning is making a million decisions, and then a season of television appears at the end of it. And you have to make a decision and then run with that decision and accept that decision and how it affects all the other decisions that you’re going to make.”

“That is the condition of making TV. The act of doing a solo art form — like painting a painting or writing a book or even writing a comic book — these things are different. The demands of television are great and heavy, and sometimes it’s beyond even the showrunner to be able to change the nature of a thing in order to jam [something] into place on TV,” he continued. “A lot of what my job is, is figuring out how to pivot and move and think laterally. And we can’t do that thing, but we can do this thing or this thing, because this is not a book. It’s a television show.”

The decision to change the “Blood and Cheese” sequence was discussed at length online following the show’s season two premiere. At the time, The Hollywood Reporter asked Ryan Condal why he felt it was necessary to change the sequence of events from the book. “The period of history season one covered, it was still a compressed time period — the book covered 30-plus years, and we crunched it down to 20,” Condal explained.

“One of the side effects is you have: Rhaenyra and Daemon’s children are much younger than they were in the book, as are Helaena and Aegon’s children. They haven’t been together long enough to have two generations of kids. So Maelor does not yet exist, and we only have the twins,” he continued. “So working from that place, we just wanted to try to make Blood and Cheese a visceral television sequence. We decided to tell it from their point of view and make it like a heist gone wrong. Whereas in the book, it’s depicted purely from Helaena and Alicent’s perspective.”

A release date for “House of the Dragon” season 3 has yet to be announced.