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'House of the Dragon' Ratings Boost as 'Rings of Power' Nears

HBO drama series "House of the Dragon" drew roughly 10 million viewers in its debut, a firm marker in the so-called "streaming wars" ahead of the release of another fantasy epic, Amazon Prime's "Lord of the Rings" prequel HOLLIE ADAMS AFP/File
HBO drama series "House of the Dragon" drew roughly 10 million viewers in its debut, a firm marker in the so-called "streaming wars" ahead of the release of another fantasy epic, Amazon Prime's "Lord of the Rings" prequel HOLLIE ADAMS AFP/File
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'House of the Dragon' Ratings Boost as 'Rings of Power' Nears

HBO drama series "House of the Dragon" drew roughly 10 million viewers in its debut, a firm marker in the so-called "streaming wars" ahead of the release of another fantasy epic, Amazon Prime's "Lord of the Rings" prequel HOLLIE ADAMS AFP/File
HBO drama series "House of the Dragon" drew roughly 10 million viewers in its debut, a firm marker in the so-called "streaming wars" ahead of the release of another fantasy epic, Amazon Prime's "Lord of the Rings" prequel HOLLIE ADAMS AFP/File

As "House of the Dragon" debuted to nearly 10 million US viewers this weekend, HBO appears to have claimed first blood in its much-hyped TV fantasy epic showdown with Amazon's upcoming "Lord of the Rings" prequel.

Set in the same Medieval-inspired Westeros world as smash hit "Game of Thrones," "House of the Dragon," which launched Sunday, is a crucially important series for the premium cable network and its streaming platform HBO Max, AFP said.

HBO is banking on its prequel matching the wild popularity of the original "Thrones," which over eight seasons became appointment viewing, spawned countless imitations and delivered 59 Emmys -- a record for a drama at television's equivalent of the Oscars.

A press release on Monday hailed 9.986 million viewers as "the largest audience for any new original series in the history of HBO" -- although some analysts noted that "new original" might be pushing a definition for a spin-off, and that its parent title drew a whopping 17.4 million to the debut of its final season.

Still, the figure represents a success for newly merged Warner Bros Discovery, which is under intense scrutiny as it tries to navigate its place in a rapidly changing entertainment landscape dominated by the so-called "streaming wars."

On September 2, fierce competition will arrive in the form of "The Rings of Power," another swords-and-dragons-themed epic of the small screen, this time taking place in J.R.R. Tolkien's Middle Earth, and created by retail giant Amazon's own streaming platform Prime Video.

Said to be a passion project for Amazon's uber-wealthy founder Jeff Bezos, "The Rings of Power" has been commissioned for five seasons, and has been dubbed the most expensive show ever made.

Its overall budget of around $1 billion dwarfs the $150 million spent so far on "House of the Dragon," though HBO has several other glossy Westeros-set prequels, sequels and spin-offs in the works.

'Great fantasy'
Creatives and executives on each side have been careful to play down talk of a rivalry.

And in reality, comparisons between the shows may be harder to draw than in TV ratings battles of the past.

HBO's return to Westeros, and its predecessor show's addictive blend of scheming dynasties, gory violence and arguably gratuitous sex, has drawn generally warm praise from critics, though reviews for Amazon's show remain under strict embargo.

While HBO has been happy to celebrate its strong early ratings figures, Amazon is under no obligation to publish viewing statistics.

Indeed, many in the more "traditional" side of Hollywood have noted that Prime Video -- which produces both television and film -- may not be especially interested in the same metrics as its apparent rivals.

Earlier this year, the head of the movie theater industry's trade body told AFP his group was "very concerned" about Amazon Prime, noting that the subscription service's business model was not "trying to make money" off its movies and shows, but instead getting consumers to "buy their groceries and use their shipping services."

Still, fantasy fans including George R.R. Martin -- author of the books on which both "Game of Thrones" and "House of the Dragon" are based on -- have expressed hope that both can be a success.

"I want both shows to find an appreciative audience, and give them great television. Great fantasy," Martin wrote in a recent blog post.

"The more fantasy hits we have, the more great fantasy we are likely to get."

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Entertainment

Demand for Japanese Content Booms Post 'Shogun'

The critical and commercial success of TV's 'Shogun' has helped spark a new wave of Japanese content being developed for global consumption. Michael Tran / AFP/File
The critical and commercial success of TV's 'Shogun' has helped spark a new wave of Japanese content being developed for global consumption. Michael Tran / AFP/File
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Demand for Japanese Content Booms Post 'Shogun'

The critical and commercial success of TV's 'Shogun' has helped spark a new wave of Japanese content being developed for global consumption. Michael Tran / AFP/File
The critical and commercial success of TV's 'Shogun' has helped spark a new wave of Japanese content being developed for global consumption. Michael Tran / AFP/File

But "Shogun", based on the 1975 novel by Australian-British writer James Clavell, broke the mould when the period drama series -- mostly in Japanese and hailed for its authenticity -- won 18 Emmy awards in September.
Other recent Japanese works have also become worldwide hits.
Franco-US-Japanese show "Drops of God", based on a manga of the same name, won best drama series at the International Emmy Awards in November.
Netflix's 2023 adaptation of the manga superhit "One Piece" -- starring Mexican actor Inaki Godoy as the lead -- was hailed by viewers and critics alike and will return for a second season.
More adaptations of major manga and anime hits are in the works, including the superhero adventures of "My Hero Academia" and the ninja escapades of "Naruto".
"Demand from Western markets is clearly increasing," said Kaori Ikeda, managing director at TIFFCOM, the content trade fair affiliated with the Tokyo International Film Festival.
But Japanese companies lack "know-how" when it comes to things like negotiating rights, she told AFP.
So TIFFCOM has organized Tokyo Story Market, a space to facilitate networking and meetings between international producers and Japanese publishers.
'Whitewashing'
Foreign studios are also getting better at avoiding some of the pitfalls of the past, such as the 2017 film version of the manga "Ghost in the Shell" starring Scarlett Johansson.
Critics accused the movie, whose main actors except Takeshi Kitano were all non-Japanese, of "whitewashing".
Similarly, the 2017 supernatural thriller "Death Note" was panned for veering too far from the original manga.
"Manga authors are highly respected and fan communities are very vigilant," said Klaus Zimmermann, producer of "Drops of God".
His adaptation takes some liberties, such as starring a French actor as one of the main characters, but Zimmermann insists it was developed in collaboration with the authors of the original manga.
"It was about finding the spirit of the manga so as not to distort it," he told AFP.
Yuki Takamatsu, a rights negotiator at the manga's publishing house Kodansha, said the process of adapting "Drops of God" was "amazing".
"Everyone was open to tackling those challenges together... At every step, everyone was understanding about how we should do it," he said.
Past failures were in part down to publishers struggling to communicate their wishes to foreign producers, who in turn lacked a proper understanding of manga and anime, Takamatsu said.
"Back just 15, 20 years ago, most of the enquiries we received from those big studios were like, hey, I know 'Dragon Ball', do you have 'Dragon Ball' IP?" Takamatsu told AFP.
"But nowadays, especially since Covid, the producers in their 30s, 40s, they watch anime together with their kids on Netflix or Amazon" and then reach out, he said.
Japanese TV goes global
Japanese broadcasters have also become "better and better (at) presenting and marketing their content" abroad, said Makito Sugiyama, executive director at the Broadcast Program Export Association of Japan (BEAJ).
This includes their participation at global events such as MIPCOM in Cannes, an annual trade show for the television industry, Sugiyama said.
Japanese broadcasters have long had success selling show concepts abroad, like the one for "America's Funniest Home Videos", known in Britain as "You've Been Framed".
Now, some Japanese dramas are also finding a wider echo abroad.
Nippon TV's original drama "Mother" became a hit thanks in part to its Turkish remake, and has been broadcast in around 50 countries.
Western viewers have overcome their initial reluctance to watch series with Asian actors, believes Masaru Akiyama, chief executive of the BEAJ.
"They have got used to it, they don't care anymore. They want to see, they want to feel the stories."
"Shogun" was "a game changer for Japan," he added, and Ikeda agrees.
"That a samurai story with such attention to historical detail can become mainstream entertainment is proof of the potential" of Japanese content, she said.