In the years 2011 to 2017, HBO’s Game of Thrones dominated pop culture. Fans clamored for each new fantastical episode, screamed and sobbed at each twist and sudden death, and formulated theories upon theories as hopes raised higher than flying dragons for the finale. Then, in 2018, the anticipated final season aired, but was filled with disappointment. HBO’s greatest small screen marvel since The Sopranos perished into dust. 

However, the world of Westeros has been given another chance by the studio television gods. The prequel series, House of the Dragon, based on the book Fire and Blood is finally here. Week to week, former GOT fans can find their scorched hearts repaired by each disturbing, violent, and incestuous episode. Upon release, Billboard reported that––with 29 million viewers per episode––the show was HBO’s biggest series premiere ever. It was renewed for a second season not even one week after the first episode aired. 

Twitter reactions and memes of House of the Dragon are especially nostalgic. Hearing familiar names such as Dracarys and the GOT theme song has fans reminiscing on the show they spent half a decade obsessing over. The world of Westeros is back in full force. 

Just as HBO began to make a brilliant comeback, it immediately faltered. News of the network  canceling the release of the already-filmed and edited Batgirl film in favor of tax credit hit Twitter, and the streaming platform faced immense backlash. Fans argued that this was not only entirely selfish and industrialization of art at its absolute worst, but extremely disrespectful to the cast and crew. The news of HBO’s plans to merge with Discovery+ followed. This came with the possibility of dropping all scripted content, better known as Max Originals. Beloved shows like the Genera+ion and The Sex Lives of College Girls were at risk of being cancelled, despite their high viewership and positive ratings. 

HBO’s ability to throw around original art for profit speaks to the supreme power in the hands of corporations rather than artists, and a complete lack of understanding what viewers want or care about. Capitalism reduces meaningful art into numbers and dollar values, removing the artist from their work. 

HBO’s collection of phenomenal TV made me consider myself a fan of the corporation. My love for Succession, Barry, and Big Little Lies led me to proclaim HBO the superior streaming service in the past. But supporting a media corporation is truly a meaningless, empty action; it does nothing to support the artists behind the work that allows a streaming service to thrive. 

Are the bells chiming as HBO surrenders to profit-led decision making? Or will fan reactions prove powerful enough to maintain their entertaining originals? Only time will answer these questions, which is further proof that the viewer has such miniscule power against the corporation. We have no choice but to bend the knee.