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At the 2026 Venice Biennale, artists and writers converged on Yto Barrada’s exhibition at the French Pavillion to pay tribute to Lebanese-American artist Etel Adnan. A stalwart polymath working across poetry, prose, and visual art, Adnan’s practice featured themes of dispersal, indeterminacy and relation. Since her passing in November 2021, at 96 years old, the reverberation of her work’s impact has only grown. There in Venice, French fashion designer Michelle Lamy read an excerpt of Adnan’s book-length poem The Arab Apocalypse (1980), alongside poets Anne Waldman and Quinn Latimer, as well as MoMA’s Chief Curator of Media and Performance, Stuart Comer, who read from their contributions to My Center Is Not in the Solar System: Tributes to Etel Adnan (My Center…) , a new anthology co-published by MACK and Bidoun.

Born in Beirut, Lebanon, in 1925, Adnan has become ubiquitous for her multihyphenate practice. Those familiar with her visual artistry will recognize her oil-painted fragments of Mount Tamalpais and the home she made in Sausalito, California: abstractly color-blocked suns and mountains, where each shade sharply encounters another; every iteration bright, deliberate, and distinct. Her works have appeared in Germany at documenta 13, the Arab Museum of Modern Art in Qatar, the Whitney Biennial, and MoMA in New York City, among others. In 2014, Adnan was named a Chevalier des Arts et des Lettres by the French Government and in 2020, the year before her death, she was awarded Canada’s most prestigious poetry award, the Griffin Poetry Prize, for her book Time . The collection of poems, translated from French by Sarah Riggs, aptly sees Adnan contending with her own mortality.

Adnan’s accolades not only confer prestige, but also map the breadth of her swooping orbit. Early on in My Center… , Lebanese writer and translator, Dominique Eddé, describes her friend of fifty years as being born “at a crossroads…the only child of a Syrian Turkish officer of the Ottoman Empire…and of a Greek woman who narrowly escaped Smyrna.” Here, Eddé takes stock of Adnan’s background, while calling attention to the forces active in forming what would become her artistic practice. An only child, Adnan’s life and artistry were punctuated by the fall of ancient empires and flights into exile. She grew up speaking Greek, Arabic, and Turkish, eventually being educated in English and French—even studying French Literature at the Sorbonne. In the 1960s while teaching at California’s Dominican College, Adnan temporarily abandoned French in protest of France’s repression of the Algerian revolution. As a journalist in Lebanon for the Al-Safa newspaper, she would meet her life-partner, Simone Fattal, with whom she would co-found The Post-Apollo Press where she served as a contributor and translator. She was, and continues to be, a moving composite image.

What could I do with these gaps and markings, I thought, if I could not determine their meaning ? These moments of visceral intelligibility achieve such through an indeterminacy that, if I said Adnan wielded , I suspect she might have disagreed with.

Reflecting on the commemorative reading at the Biennale, My Center … co-editor and Bidoun Editor-in-Chief Negar Azimi tells me that being “at a big international art event in the midst of criminal wars of aggression involved a fair amount of cognitive dissonance, so it felt correct to gather with [Adnan’s] words as our guide.” Like the reading, this anthology finds its form through Adnan’s life, pulling her devotees into a chorus of voices. Featuring new original work from Aria Aber, Isabella Hammad, Omar Berrada, Eileen Myles, Ariana Reines and others who cite Adnan as a lodestar, My Center… is a testament to this poet’s gravity. The entries include poems written with Adnan in mind, diaristic recollections of how they first encountered her, and even personal correspondence with the artist. When asked about the specificity that went into selecting contributors, Azimi tells me they approached people who were close to Adnan, “fellow travelers as it were,” like the historian Fawwaz Traboulsi, while also showcasing “a new generation of her interpreters and admirers.”

Multitudinous in form like the artist it commemorates, the text also features never before seen sketches by Adnan. Particular in their appearance, they are not the brightly colored canvases that she has come to be associated with, says Azimi, “but rather something more intimate, idiosyncratic and surprising. Something closer to the word.” It was this intimate, idiosyncrasy that intimidated me when I first encountered The Arab Apocalypse, its “litany of color and horror delineating the destruction of Beirut,” in the words of contributor Quinn Latimer . Being a younger poet, I was resistant to the work and struggled against its “war in the vacant sky,” its unheeded prayers and proliferating multi-colored suns. What could I do with these gaps and markings, I thought, if I could not determine their meaning ? These moments of visceral intelligibility achieve such through an indeterminacy that, if I said Adnan wielded , I suspect she might have disagreed with. She might have asserted that indeterminacy is an un-fixedness that one surrenders to. So when I understood myself as being opposed to the poem, really I was experiencing the onslaught of questions that had likely brought Adnan to both page and canvas. Not merely an inquiry of what is happening, or how we live in the midst of it, but what we might do with the stultifying inventory of empire’s daily violences in the world.

This questioning was also at work in the relationships she formed with other artists. “Anytime there was something going on in the world that I was contending with, I would write to her and she would always have a very clear, but simultaneously surprising, perspective on what that thing was,” Japanese-American poet Brandon Shimoda tells me over Zoom. In fact, I had first encountered Adnan’s work when Shimoda posted fragmented missives shared between the two writers on social media. “I wrote her a love letter,” he tells me, recalling their meeting for the first time in Lebanon in 2009. Within about a week of that, Adnan had responded via email, and so began their storied correspondence. “Dear Brandon,” she writes in one email, “we are between spring and something else, a season with no name…when or where suddenly things gel and make sense and the word beauty is applicable.” Who talks like this, I would ask myself, awestruck by her confounding and elucidating responses. When I jokingly ask Shimoda this same question he offers that she was “the closest approximation of a human being simultaneously a homo-sapien and an element” because of what she wrote, how she wrote, and how she was.

My Center… houses various transmissions from Adnan. Lebanese historian Fawwaz Traboulsi, translated from Arabic by Yasmine Seale, offers a visit to Etel in Paris just one week before she passed. Asking to be recorded almost immediately as Traboulsi arrives, we hear Adnan debate with Nietzsche and quote the Sufis. With filmmaker Lamia Joreige, Etel revisits the drama of a lover she chased to America in 1955. Adnan and Swiss curator, Hans Ulrich Obrist, discuss the value of epiphany and spontaneity in poetry, as well as memory in relation to architecture. To American poet Anne Waldman, Adnan writes “Believe me, the thing that means most really most is love—passion love or friendship, the getting together of a few people a few times for a few hours—and it does make of living a wonderful thing.” Each transcribed voice-recording, interview, and letter provides a different window into what it was like to be in close proximity to such a singular thinker.

But transmissions can be felt far beyond their point of origin. Poet and novelist Aria Aber, who knew of Adnan’s importance to other poets she admired, developed an “obsession” with The Arab Apocalypse in 2019. Then in 2020, during the pandemic, she would spend hours staring at the digital versions of Adnan’s paintings. For Aber, the works offered “a sense of home or bounty when everything else was suffused with death and grief.” Aber’s offering to the bounty of this text reads with traces of Adnan’s distinct mysticism; that same peripheral clarity I have found in poets like Aimé Césaire and Édouard Glissant. Her speaker desires to “go beyond” their life, to “abdicate that other coast, and see the self/ disintegrate, or shimmer.” In that lyricism is an alternative totality that Adnan lived, hinted by the entirety of the quote from which the book takes its title.

Aber notes how Adnan’s rejection of centrality is interesting because she “is a guiding light” and an undeniable part of her “literary and spiritual cosmology.” For Brandon Shimoda, the title’s contradiction is an expression of a thought process and proof of Adnan’s constant changing, while, for Negar Azimi, the title speaks to the ways in which Adnan was an “itinerant soul hailing from another planet, in more ways than one.”

Opening My Center… to its early pages, Etel Adnan speaks again. She looks directly at us and whispers, “If you meet me in the street, don’t be sure it is me,” with all the sincerity and truth of a trickster. Don’t be sure uttered by this text suggests a different mode of looking , as much as it suggests a different kind of being . It is our philosopher-poet playing in opacity, tricking us into recognition—into the chance that we might see ourselves in these pages, amidst her beloved friends. At this seventy-two paged book’s exact center is a cosmic exchange. Her drawings, with their long limbs reaching, tell us:

I Am Yesterday and Today and Tomorrow / said The Sun

And I am You / said The Moon

She is bringing us to the crossroads, beginning again. She is saying I miss you.

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As of a few days ago, Anthropic deployed its Claude Fable 5 AI model after the US temporarily restricted access. Now it has already been used to port the 2003 video game Command & Conquer: Generals – Zero Hour to iOS. It seemingly needed the source code, previous ports, and some human tweaking to get running.

This is according to the lead of product and design at Google AI Studio, Ammaar Reshi, who announced the port on X on July 4. Reshi says this specific port "had a chain of giants to stand on" because it used previous port efforts and modernisations. It is a direct fork of The Super Hackers' Linux and macOS build of the game .

I used Fable 5 to port Command & Conquer: Generals Zero Hour to the iPhone and iPad!This is the actual 2003 engine compiled for ARM64 natively, no emulator.Campaign, skirmish, Generals Challenge all work with touch controls built for an RTS.Open sourcing it all below! pic.twitter.com/Vi9SbKyVPI July 4, 2026

What is unique about this specific port is that it gets the game running on iOS specifically, and even comes with unique touch controls like tap to select, drag to create boxes, and long press to deselect. Even though it uses plenty of work by other teams, it seems like an impressive effort in itself.

If you're looking to play the game for yourself on iPhone or iPad, you can do so with the GitHub page now. You will need your own copy of the game, though. Notably, it runs in the real engine and runs natively on Apple devices, so it's not a glorified emulator.

Reshi talks about the porting process on GitHub. He argues that this is a human + AI collaboration, and not simply someone pointing an AI model at something and saying 'go'. He says the code and debugging were done by Claude, but the playtesting was human. Reshi described problems like 'the minimap is black' and 'I hear chirping,' and the model would fix them. Reshi says, "Neither half ships this alone: one of us can't write C++, and the other can't hear the chirping."

So how replicable is this for other games? As of right now, we don't know. Reshi seems sceptical of being able to port Red Alert 2 , as EA appears to have lost the source code for that game, so that's already a pretty big hurdle to jump over. Even if companies manage to find their source code, many won't willingly give it up to vibe coders to create ports, especially if that makes it less likely that gamers will buy future remasters or remakes.

And that's before mentioning that AI models can scrape any information fed to them, and some game developers may not want to give that information away for free.

Reshi also claims to have fully exhausted a Claude Max sub in just 2 days , which means this project seems to have cost somewhere between $100 and $200 in tokens alone. And it seems like Fable 5 is the only model Reshi thinks can do the work. He reportedly tried it with Opus 4.8 and, even using Ultra Code, it couldn't do the task. Perhaps tellingly, they made no mention of whether it had even been attempted on Google's own AI vibe coding platform.

So if you have a few hundred burning a hole in your pocket, the source code for a game, and previous porting efforts to look at, it might only take a weekend to get the game running on your iPad. Simple, ey?

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Damd built two new body kits for the tiny Suzuki XBee crossover.

Little D. package gives the XBee a boxy Land Rover Defender face.

Bemore takes the other route with a round, retro Alto Lapin look.

The Suzuki XBee has always tried to be two things at once, rugged and cute, and mostly gotten away with it. Now Japanese tuner Damd has pulled those two impulses apart and handed each one its own styling kit. The Little.D package borrows the upright, squared-off attitude of the Land Rover Defender, while the Bemore package heads in the opposite direction toward soft retro charm.

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The XBee Little.D follows the example of similar kits for other Japanese models including the Jimny and the Every, all borrowing from the iconic British off-roader.

More: This Kei Car Looks Like A Baby Mitsubishi Pajero From The ’80s Now

The highlight is the boxier grille and hood with Little.D lettering, combined with black garnish for the LED headlights. The rugged treatment also includes a redesigned front bumper with a heavier dose of plastic cladding, side decals, and darker trim for the taillights and the tailgate. The pictured model is fitted with an optional roof carrier and rides on beadlock-style alloy wheels wrapped in grippy tires.

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Suzuki XBee Little.D by Damd

The XBee Bemore takes a different route, drawing on the round lines of the Suzuki Alto Lapin kei car . It gets a bespoke bumper with a larger intake, three slits replacing the grille, and a pronounced body-colored chin. Damd also added vintage side decals with a checkered pattern and matching quarter window decals.

Those looking for the ultimate vintage flair can also opt for the wood-infused roof basket and the chrome wheels. As for the interior, the tuner is offering special covers for the front and rear seats that look like brown leather with checkered inserts.

The Suzuki XBee might look like a kei car, but it is actually larger, measuring 3,760 mm (148 in) long. Under the skin lies the Heartect platform, which also underpins the Swift hatchback and the Ignis crossover, among other Suzuki models.

Suzuki XBee Bemore by Damd

Damd doesn’t offer any performance upgrades for the standard mild-hybrid 1.2-liter engine which is good for 81 hp (60 kW / 82 PS) and 109 Nm (80 lb-ft) of torque. Depending on the trim, power is transmitted to either the front (2WD) or all four wheels (4WD) via a CVT gearbox.

More: This $880 Kit Turns Suzuki’s Boxy Kei Car Into A Retro Off-Roader

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Sales of the Damd kits for the Suzuki XBee will start on July 10. The company does not accept reservations and will only ship the packages to body shops or dealers in Japan .

As for pricing, the Little.D retails for ¥299,200 ($1,850) not including installation. The Bemore kit costs ¥154,000 ($950) for the face swap and ¥65,780 ($400) for the decal set. Finally, the seat covers cost ¥66,550 ($410). Buyers who want the full treatment will need to pay extra for the alloy wheels, the grippy tires and the roof rack.

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The standard Suzuki XBee

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For thirty years, the hardest part of a sophisticated cyberattack was the human labor behind it. Finding the vulnerability. Writing the exploit. Chaining the access. Staying quiet long enough to matter.

That work required teams, time, and tradecraft. It’s the reason nation-state operations looked different from criminal ones, and why most organizations could plan around the gap between them.

That gap is closing.

We are entering what I think of as the Mythos era, in which machines can do in minutes what used to take skilled human operators months. Cybersecurity defenses are improving, but the layer where final decisions are made, the human one, is now the easiest to exploit.

The advantage that protected most organizations, most of the time, is going with it. Precision at scale is no longer a contradiction. It’s a feature.

The Human Stack: what it is and why it matters

Most of the conversation about this shift has focused on what these systems do to vulnerabilities. That conversation is accurate, but incomplete. The harder problem is what machine-speed attacks do to the systems those vulnerabilities ultimately route through: systems that depend on human decisions.

That’s a layer most security programs don’t explicitly own. I call it the Human Stack, the point where every system finally comes down to a person deciding whether a wire transfer goes through, whether an email is trusted, or whether a voice on a phone call is real. We have spent a generation hardening everything above it, and almost nothing on the layer itself.

For most of cybersecurity's history, that was a tolerable bet. Attackers had to choose between going wide and crude, or narrow and precise. The Human Stack held because precision didn’t scale, and scale didn’t achieve precision.

That tradeoff is gone.

What the next wave of attacks looks like

The next wave won’t arrive as malware . It’ll arrive as evidence. A voicemail that sounds exactly like the person it claims to be. A video call with a face you have known for ten years. An email thread that picks up a conversation you actually had, in the cadence you actually use, referencing a project that actually exists. The technical indicators will be clean, and the social indicators will be perfect. The only thing that will be wrong is the conclusion the human is being led to.

Last year, I spent time with the team behind Midnight in the War Room, a documentary premiering August 5 at Black Hat USA. It brings together over 50 experts, from global CISOs and military strategists to reformed hackers and victims of cyber conflict. The conversations were about something that has been happening for a long time and is about to be accelerated: the industrialization of social engineering, and the steady weaponization of the behavioral attack surface.

That surface doesn't stop at your perimeter. It extends through every vendor, managed service provider, and cloud services administrator your business depends on. Your operations going offline may have nothing to do with your own people, and everything to do with someone three vendors deep making a decision under synthetic pressure.

What this means for enterprises

For businesses, this isn’t theoretical. Financial risk is direct. We're already seeing fraudulent wire transfers, manipulated approval chains, and finance chiefs impersonated so convincingly that payments clear before anyone notices.

Operational disruption can come with no malware on your systems. The behavioral attack surface doesn't stop at your perimeter. It extends through every vendor, managed service provider, law firm, auditor, and cloud administrator your business depends on.

A compromised third party, manipulated through a perfectly constructed social engineering campaign, can take your operations offline without leaving a fingerprint anywhere near your network. Most organizations scrutinize their own security posture far more rigorously than the human decision-making environments of the third parties they rely on, leaving that exposure largely unmanaged.

Regulators and insurers are starting to ask harder questions about that exposure, and most organizations don't yet have good answers.

The shift from prevention to resilience

There's a second shift that boards need to start preparing for, and it's bigger than any single control or technology. We're leaving the era in which security success is measured by attacks prevented. We're entering one in which the realistic measure is how quickly an organization recovers when belief fails.

Prevention still matters, and the investments organizations have made in it have been the right ones. But in a world where attacks will sometimes succeed because they're indistinguishable from legitimate activity, prevention alone is no longer a coherent strategy. Resilience is.

What resilience means at the human layer is different from what it means at the technical one. Technical resilience is about systems that fail gracefully and recover quickly. Human resilience is about decision-making environments that can absorb a successful deception, recognize it, and contain it before it compounds. Most organizations have invested in the first. Very few have invested in the second. That's the gap the next decade will judge us on.

What leaders should do

The security stack remains necessary, but this era exposes that even the best systems hand their hardest decisions to humans, and we haven't invested in that layer with the same rigor. Here’s where to start:

Measure recovery, not just prevention

When belief fails, how fast can your organization catch it, contain it, and get back up? That has to be designed into your operating model now, not figured out after an incident.

Design for decision-making under deception

Training people to spot phishing isn't sufficient when the phishing email is indistinguishable from a real one. Build institutional processes that don't rely on a single person making the right call under pressure.

Treat people as operational infrastructure.

Human judgment is a critical system. It needs redundancy and failure protocols, just like any other.

Extend your security culture to your vendor ecosystem

The behavioral attack surface runs through your entire supply chain. Your third-party risk program needs to account for the human layer, not just the technical one.

The window is closing

Midnight in the War Room will make this visible in a way an op-ed cannot.

The Mythos era did not create this problem. It revealed it. The cost of exploiting human decision-making precisely was high enough to keep most attackers out. That barrier is collapsing now.

What comes next will not announce itself. It’ll arrive looking like someone you trust, asking for something that feels completely reasonable, right up until the moment it isn't.

The question is no longer whether your systems can withstand attack. It's whether your people are prepared to make decisions in a world where the evidence itself can no longer be trusted, and whether your organization is built to recover when those decisions go wrong.

We've reviewed and ranked the best cloud antivirus .

This article was produced as part of TechRadar Pro Perspectives , our channel to feature the best and brightest minds in the technology industry today.

The views expressed here are those of the author and are not necessarily those of TechRadarPro or Future plc. If you are interested in contributing find out more here: https://www.techradar.com/pro/perspectives-how-to-submit

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Astronomers have reconstructed the "skeleton" of the cosmos in unprecedented detail, thanks to the largest-ever survey conducted by the James Webb Space Telescope (JWST). The resulting map reveals how galaxies have evolved since the universe's infancy around 13 billion years ago and how they fall together in a vast structure called the cosmic web.

The cosmic web is the largest known structure in existence, home to countless galaxy clusters and clusters of clusters. It is the framework of the universe, a scaffolding of gas filaments, stars, voids and sheets of dark matter that trace the entire large-scale organization of the cosmos.

In a paper published May 6 in The Astrophysical Journal , an international team of astronomers, led by researchers from the University of California, Riverside (UCR), utilized a treasure trove of JWST data to reveal how the universe has evolved.

How to sculpt a universe from scratch

The new research shows how intrinsic and extrinsic factors influence the formation and death of stars — and, therefore, galaxies and galactic clusters — throughout vast swathes of cosmic time.

Yet in what may seem like a wistful twist, the peak era of star formation is many billions of years behind us . The new research offers additional evidence of how the universe's structural framework facilitated this transition.

"We show how the cosmic web helped shape galaxy growth before, during, and after that peak era," study co-author and UCR astronomer Hossein Hatamnia told Live Science via email. "At earlier times, dense regions appear to be sites of rapid galaxy growth, while at later times dense environments are associated with the shutdown of star formation."

Such revelations come courtesy of COSMOS-Web , the grandest JWST survey yet: a 255-hour program spanning a contiguous area of the sky about the size of three full moons .

Compared with the previous COSMOS2020 survey, shared in 2021 and conducted by the Hubble Space Telescope and other facilities, the JWST-derived COSMOS-Web boasts better redshift precision and includes more galaxies — including fainter, lower-mass and more-distant objects. (Redshift is a measure of cosmic distance and time based on how light shifts to redder wavelengths as it crosses the universe.)

Compared with the JWST-derived image below, which shows a slice of the cosmos as it appeared 11.5 billion years ago, previous cosmic maps were sparser, more diffuse, and lacking in cosmic structures.

Data from the new COSMOS-Web survey (left) compared to the previous iteration (right). JWST's sensitivity and depth has allowed scientists to map the cosmic web in unprecedented detail. (Image credit: Hatamnia et al., The Astrophysical Journal, 2026) Additionally, the older COSMOS2020 survey tended to overestimate the depth in especially dense cosmic regions, where galaxies grow earlier and larger, and underestimate the depth of the least-dense spatial regions, the researchers said.

Revealing celestial birth and death

Yet JWST's cosmic map preserves the relative contrast across cosmic regions. It also shows that "massive galaxies in dense environments are more likely to be quiescent" — dying and quenched of their star-forming potential.

This may be because those galaxies are too massive, the team theorized. Once the dark matter halos that anchor galaxies grow to 1 trillion solar masses, they energize gas and prevent it from forming new stars. Additionally, active supermassive black holes quench star formation by energizing gas with their lethal, near-light-speed jets .

Such "mass-related" star-killing mechanisms dominated up to around 7 billion years ago — around half the age of the universe, the team found.

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In the more recent universe, star formation is dominantly quenched by the environment around galaxies, which may strip them of material or prevent cold gas from accumulating and coalescing into stars.

Thanks to JWST's capabilities, the large-scale structure and evolution of the universe have been made clearer than ever, resolving blurry blobs into dim, ancient galaxies.

"The jump in depth and resolution is truly significant, and we can now see the cosmic web at a time when the universe was only a few hundred million years old, an era that was essentially out of reach before JWST," co-author Bahram Mobasher , a distinguished professor of physics and astronomy at UCR, concluded in a statement .

The catalog of 164,000 galaxies used to build the map of the cosmic web is publicly available.

This article was first published May 18, 2026.

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House of the Dragon season 3, episode 3 entirely revolves around the newly ascended Queen Rhaenyra attempting to rule the Seven Kingdoms, though she's faced with a myriad of problems, from the big (the treasury is empty), to the small (the Red Keep is overrun with rats).

Across the runtime, we see the queen's grip on her composure slackening as the reality of ruling sets in – especially when, in one moment, she mistakes a servant for her son Jacaerys, who perished in the Battle of the Gullet .

While this is a standout episode of House of the Dragon season 3 , some fans think we should have seen something like it earlier in Game of Thrones season 8.

"Great episode. My biggest problem with the character arc of Daenerys in the final season of GoT was how abrupt and poorly paced it was, and I couldn't help thinking that an episode just like this one tonight (S3E3) is exactly what Daenerys needed," says one fan on Reddit . "The pans and flashes to rats roaming around unchecked, the music playing all through the episode with small sharp violin/piano notes, all awesome small details to convey sanity and good decision making eroding. If an episode focusing on all the things weighing on Daenerys' mind in the final season of GoT had aired, I think the conclusion to her arc would have felt much better executed"

One of the biggest criticisms of Game of Thrones season 8 is that Daenerys's Mad Queen arc was incredibly rushed, culminating in the Mother of Dragons burning down King's Landing for no real reason at all.

"Daenerys needs this and much, much more in that final season," agrees another person. "Her character felt so well and truly fucked over it broke my heart."

"Daenerys should have overthrown Cersei in the season 7 finale so that the entire season 8 could be dedicated to the White Walker conflict and her Mad Queen arc. Would've been so much better," says another person.

"Yes absolutely this is what she needed in Mereen," agrees another fan. "The whole point is that Rhaenyra is slowly descending into madness. We needed more of an arc for Dany to do that. People point to moments of 'madness' in earlier seasons but she didn’t do any worse than any other male ruler," says someone else.

Not everyone agrees, however. "I'm not sure why people think Rhaenyra is descending into madness. You can be stressed out without going mad," points out one person.

"I don't think the story should have ended with Daenerys losing her mind at all… it means the only female rulers of Westeros were 'mad queens,' which is an unfortunate implication," says another fan.

Emma D'Arcy, who plays Rhaenyra in the show, has previously teased that a downfall might be on the cards , explaining that they and showrunner Ryan Condal were interested in exploring "a movement towards tyranny," adding, "but in particular making that journey legible."

House of the Dragon continues weekly on HBO in the US and HBO Max, Sky, and NOW in the UK. Keep up to date with our House of the Dragon season 3 release schedule .

For even more, check out our House of the Dragon season 3 review or our guide to all the upcoming Game of Thrones movies and TV shows .