Unlike its predecessor, HBO’s "House of the Dragon," the much-anticipated prequel to "Game of Thrones," does not conceal its feminist-grooming agenda.

Within the first 15 minutes of its Sunday debut, "HOTD"revealed its conceit: man’s subjugation and oppression of women began thousands of years ago and extended to fantasy worlds.

Like any devout atheist, American novelist George R.R. Martin, the author of the books that inspired both shows, believes life, fate, and men dealt women an awful hand.

"HOTD" begins with its female narrator, Rhaenyra Targaryen, explaining her father’s rise to ruler of the realm as a triumph of sexism over birthright. King Viserys, the George W. Bush of Westeros, was appointed king over his more qualified female cousin, Rhaenys Targaryen, the Hillary Clinton of Westeros. Rhaenys is fondly referred to as the “Queen Who Never Was.”

Shortly after that explanation, 15-year-old Rhaenyra Targaryen flies into camera view on the back of a dragon, sailing between the clouds. She lands back at King’s Landing, dismounts, and greets her more feminine and comely best friend, Alicent Hightower. The sexual tension between the two is subtle but obvious.

From there, Rhaenyra visits her bedridden and pregnant mother, Queen Aemma. Rhaenyra complains that the gaggle of midwives focus on the child in the womb, not her swollen mother. Queen Aemma tells her daughter, “Babies are how we serve the realm.” Rhaenyra retorts: “I’d rather serve as a knight and ride to battle and glory.”

Rhaenyra identifies as a man. She’s trans. Or maybe she’s just a lesbian. While picnicking outside, head planted in Alicent’s lap, Rhaenyra confesses: “I want to fly with you on dragonback, see the great wonders across the narrow sea and eat only cake.”

The first episode of "House of the Dragon" is drag queen story hour for feminist groomers. There’s little reason to expect the show to pivot. "Game of Thrones" waited five seasons before swallowing narrative blockers and transitioning away from Tyrion Lannister as the underdog hero to Arya Stark as Baby Wonder Woman and Night King assassin.

"HOTD" shows no such patience. It dials the calendar back 172 years to unearth the original sins that doomed Kings Landing, Westeros, the Seven Kingdoms, and the Realm.

Hollywood is determined to convince young people that all evil is rooted in male leadership and the patriarchy and that America must be remade to protect the world. Only women can save the world from the tribalism and brutality of men.

Winter is coming!

Remember the clever "Game of Thrones" allegory about the perils of ignoring climate change? "House of the Dragon" doubles down on the parable when King Viserys warns his daughter about the White Walkers.

George R.R. Martin, the Northwestern J-school grad, rejects American exceptionalism and the success of the American experiment. The dragons are a stand-in for American military might. King Viserys explained to his daughter that the Targaryens' hold on power is based on the myth that they can control the dragons. The unstated truth is the dragons control the Targaryens, just as the military-industrial complex controls America.

The show's harshest rebuke is saved for motherhood. "House of the Dragin" portrays childbirth as a burden, not a blessing. Queen Aemma dies a painful, brutal, and pointless death giving birth to King Viserys' male heir. The baby dies hours later. King Viserys chose a delivery procedure that sentenced his wife to death but gave his male son the best chance of survival.

"House of the Dragon" is pro-choice. The critics loved it.

The Los Angeles Times reviewer wrote: “The exchange between mother and daughter, and the artful contrast of dueling knights and dutiful midwives, are powerful enough on their own to render the first episode a smashing success and show that House of the Dragon has a depth of understanding of its female characters that GoT took years to find. But it doesn’t stop there: In a moment that reflects some of the ugly realities of our own world, it is men who ultimately decide the queen’s fate – choosing the baby’s life over hers.”

A New York Times reviewer gushed:

“As an exploration of the social contract in a decadent monarchy and an allegory for a grab bag of modern ills, including patriarchal sexism and the corrosive effect of weapons of mass destruction, House of the Dragon is reasonably smart and well put together. The anger of Rhaenyra and other female characters at the practical and sometimes violently physical price they pay for being women is presented in believable and often moving ways. (The overriding theme of royal succession is illustrated with three agonizing scenes of childbirth in just six episodes.)

We’re being groomed. That’s the point of all modern art and entertainment. Men are scum. We’re the root of all evil. It’s the antithesis of a biblical worldview. The Bible says Eve listened to Satan, ate from the forbidden tree, and fed it to Adam. Popular culture argues man is the serpent in the garden. He and his ways are to be avoided.

Men – believers and nonbelievers – are selling this message. George R.R. Martin is no lone wolf. He has an army of male collaborators. They litter the political conversation. However, Martin’s most effective co-conspirators speak from Christian pulpits. They preach an egalitarian gospel. They’ve made themselves idols. They’re unwilling to model the behavior of confession and repentance that leads to salvation.

They’ve surrendered to popular culture. Fear of the discovery of their sin has emasculated and silenced them. They’re biblical eunuchs.