DUBAI: Few television shows (or films, or any other kind of media) have had as great a cultural impact as “Game of Thrones.” Throughout its eight-year run, which began in 2011, the sprawling fantasy series based on George R.R. Martin’s books gripped audiences across the globe (for reasons both positive and negative) and its influence is still felt across television and film. Now, just over three years after its last episode aired, HBO has finally readied a follow up its most-popular series: “House of the Dragon” — a prequel set hundreds of years earlier, which premieres on OSN in the Middle East on August 22.

The world has changed, however. When “Game of Thrones” debuted, there was nothing like it. For many, the series was the first piece of fantasy that enraptured them — propulsive, riveting and uncompromising storytelling that eased viewers into the existence of ice monsters and dragons. A decade on, there has been a litany of direct imitators, none of which has come close to emulating its success. So why should this one?

“There have been many attempts to capture the ‘Game of Thrones’ magic,” says “House of the Dragon” co-creator and co-showrunner Ryan J Condal. “And many shows that have done only one or two seasons, and that’s it. There’s clearly a pattern of people wanting something like ‘Game of Thrones,’ but [the imitators] had to make it different. We’re lucky in the respect that we don’t have that problem. The more ‘Game of Thrones’ we are, the better.”

“House of the Dragon” should not be seen simply as a carbon copy of its predecessor, though. “Game of Thrones” had dozens of major characters, with the two major ones — Daenerys Targaryen and Aegon Targaryen (who believed himself to be Jon Snow for most of it) — not even meeting until near the end. “House of the Dragon” is far more zoomed in, centering on four characters from that same Targaryen family — a mercurial bunch with pale white hair and dragon’s blood in their veins — 200 years prior to the birth of Daenerys.

The central conceit is, however, pure “GoT.” A peacetime king — Viserys I Targaryen (Paddy Considine) — is unable to produce a male heir, leaving his hot-headed and unpredictable brother Prince Daemon as his most likely successor. Viserys, however, has other plans, thinking that perhaps his daughter, Princess Rhaenyra (played by Emma D’Arcy as an adult, Milly Alcock as a teen) could become the kingdom’s first queen. Her best friend, Lady Alicent Hightower (Olivia Cooke as an adult, Emily Carey as a teen), however, seems to have her eyes on the king herself.

“I think the thing that made it so interesting to us is the idea that you get to explore the Targaryens as a dynasty and as a family instead of basically just one person. (We) get to show you what Westeros was like when the Targaryens were at height of their power and influence, when they had 17 dragons to discourage other houses from raising a challenge to the throne. And we see a broad spectrum of different Targaryen people — princes and princesses, firstborns and second-borns — who all have their own internal life and wants and needs and identity,” says co-showrunner Miguel Sapochnik.

“What you realize is: This is just like any other family,” he continues. “It’s made up of a complex range of people who will all react to things in a different way. There isn’t a Targaryen archetype. There’s nature and nurture involved — how they develop as people and how they react to different things. They’re all real, complex people with gray in their souls, and that’s why people tune in from week to week, to follow these, hopefully, deeply interesting and compelling characters.”

Leading the pack is Paddy Considine, an actor who has put in some of the finest, if under-heralded, performances in recent history, including 2003’s “In America,” 2004’s “Dead Man’s Shoes” and 2010’s “Submarine,” and is finally given the major role he’s always deserved — something that the creators of the show saw before he did.

“I was the first actor cast in it, which was a massive leap of faith on the part of Miguel and Ryan and HBO. The fact that I didn’t even have to audition was a big gamble, really. Because I’ve a cynical side, my first question was, ‘Well, who’s turned it down? Who doesn’t want to do it?’ And they said, ‘Nobody. It’s yours. We’re coming straight to you.’ And that’s a good way to get me in, because I was very flattered by that, I was really honored. Truthfully, I was,” says Considine.

Matt Smith, who has already found huge success for his runs as both the lead in BBC stalwart “Doctor Who” and Prince Philip in the first two seasons of Netflix smash “The Crown,” comes in as the show’s most recognizable star, with his trademark charisma on full display as the brash and brilliant Daemon.

“I loved his unpredictability,” Smith says. “That was one of the things that really drew me to Daemon in the first place. You never quite know where he’s going to go, even as an actor. That affords you a great deal of invention and allows you to play. It’s nice when you’re an actor and you don’t quite know where the scene’s going to take you. I really loved it. I had such a good time.”

Smith may have been having fun, but the shoot was grueling. It began in April 2021 and didn’t wrap until February 2022, filming across the UK, Spain and California.

“Nothing prepares you for the shooting. I walked in with my shoulders back and head high. A year later, I crawled out on my belly,” says Considine.

“Game of Thrones,” of course, was a show with massively popular female characters, an aspect that kept it relevant as the cultural paradigm shifted, with Danaerys Targaryen becoming a symbol of empowered women the world over. “House of the Dragon” takes that baton and runs with it, focusing first and foremost on its lead women characters, Princess Rhaenyra and Lady Alicent.

For the show’s female stars, getting on the same page with the showrunners over how women would be portrayed in the violent and sexist world in which it’s set was of paramount importance from day one.

“Both Olivia and I started speaking with Miguel Sapochnik really early,” says D’Arcy. “One of the questions that I came into the show with was: ‘How do you make sure you are telling a story from their point of view, when we are in a world that doesn’t afford them space?’”

The conversations went better than they expected, the two stars reveal.

“Miguel was incredibly receptive and really generous on all of that. He gave us the space to explore these characters,” Cooke says.

“Fundamentally, Miguel is really aware that he’s not a woman,” D’Arcy adds. “He was very willing to defer to us, if something came up in the text. If you have a question, you have every right to interrogate that. It’s been a collaborative process.”