“The Dragon and the Wolf” isn’t perfect, and it doesn’t quite make up for the narrative failings of the previous two episodes, but it’s spectacular in terms of the acting, directing, and cinematography, and a massive 81 minute runtime means that there’s more space for everything to play out instead of being rushed. The scenes in King’s Landing felt like a return to GoT of old, and the confrontation between Tyrion and Cersei may be my favourite scene of the season.
It’s a very well-paced episode, but its greatest strength lies in the way it weaves its character arcs. Arguably, there’s as much character development in “The Dragon and the Wolf” than there was in the previous six episodes of the season. Tyrion, Jaime, Cersei, Daenerys and Jon all have a mini-arc of their own in this episode, and you can make the same argument for Theon, Arya and Sansa.
My issues with “The Dragon and the Wolf” are mostly limited to minor quibbles (Jon’s name is Aegon? Seriously?) and the fact that it doesn’t do quite enough to resolve some of the season’s earlier storytelling issues. Yes, Sansa and Arya were revealed to be on the same side, but that doesn’t excuse her weird behaviour in “Beyond the Wall”. Also, the lack of #CLEGANEBOWL was concerning, but #BoatSex mostly made up for it.
King’s Landing would be the logical place to start this review. I was a little concerned to see that the first dialogue of the episode was some of the usual ‘witty banter’ that Benioff and Weiss are known for, but the conversation quickly took a turn away from cocks and eunuchs to something more prescient. I don’t know how Grey Worm got to King’s Landing, or who controls Casterly Rock, or how Euron sailed back round Westeros (again), but I’ll let these problems slide, for now.
The first 12 minutes of the episode concern the buildup to the parley in the Dragonpit, and it was good to see the reunion between Podrick, Bronn and Tyrion – something I was pleasantly surprised by, as I’d completely forgot it was happening. Brienne and the Hound also bonded over their not-quite-parental ‘love’ of Arya Stark. The location used for the Dragonpit and the scenes surrounding it is beautiful, and the long takes are fantastic. More on the cinematography later.
Things get going once our main characters reach the Dragonpit. Dany comes soaring on her dragon, in a scene that, frankly, is a little shoddy, but would have been impossible for the VFX team to make believable. Everyone shares some tense looks. We get teased for Cleganebowl, though ultimately the brawl that was promised never takes place. But that’s okay, because this is a talky episode, and a massive fight in the middle would have been a bit distracting. On that note, I can see why they got Jeremy Podeswa to helm this one, because the man is a master at long, complicated dialogue scenes. Between his excellent blocking and direction and the damn-near-flawless performances of all the actors (both the five principals and the supporting cast), the whole Dragonpit scene is one of the show’s most memorable, and it doesn’t rely on fancy VFX. And to give credit where credit is due, Benioff and Weiss wrote some truly outstanding material for this scene.
However, the best scene of the episode is the one which comes after, where Tyrion ominously walks back into the Red Keep and sits down for an audience with Cersei. Lena Headey’s Emmy is long-overdue, but if there’s ever been a scene that is Emmy gold, I think this is it. Headey and Dinklage have some of the best screen chemistry in the entire show, playing off each other’s subtle cues perfectly. Headey’s Cersei is like an onion; peel away the layers and you will reveal a vulnerable soul, but beneath that vulnerability is iron, and beneath that are yet more layers. It’s a strange world where a woman’s reluctance to kill her brother – one of the show’s most beloved characters – is heartbreaking. And as for Dinklage, his performance opposite Headey reminded me of why I loved his character so much in Seasons 1-4. This is also one of Dinklage’s very best episodes, matching up to “Baelor” and “Blackwater” – the former of which he won an Emmy for. It was one hell of a performance. And once again, this scene was impeccably directed and shot.
Cersei comes out and proclaims that she’s going to fight alongside the Northmen. Of course, this is a lie – like her pregnancy, I suspect – and I think Tyrion knows it. Nonetheless, Jon and Dany accept that this is the best that they’re going to get, and head off to Dragonstone together. The rest of the King’s Landing arc is the build-up to Jaime finally saying what we’ve been waiting for him to say since Season 5: inspired by Brienne and Tyrion, he tells Cersei that if she wants to take back the Seven Kingdoms, she can bloody well do it alone. There’s a moment where Ser Gregor threatens Jaime – to which I had a genuine “holy shit” reaction – but then, in a brilliant scene that parallels the Cersei-Tyrion encounter from earlier – she shows mercy once again, and displays some weakness under that cold veneer. She heads off after him, but stops himself. She must be a queen.
Over on Dragonstone, there’s a council meeting where Jorah attempts to subtly cockblock Jon, but the real point of these scenes are the conclusion to Theon’s fantastic arc in this episode. While I felt the “I have no balls” trick was a little cheesy and over-the-top, it does a wonderful job in keeping to the ironborn idea that “what is dead may never die”. Theon gets back up, beats the shit out of ratface, and then falls down in the sand. This shot, designed by DP Gregory Middleton, with Theon in the foreground and the bluffs of Dragonstone behind him, is absolutely perfect.
Up at Winterfell, Littlefinger gets schooled. Sophie Turner’s performance as Sansa was so genuine that I believed that Sansa had fallen for his shtick, and that this was ‘bad writing by those untalented hacks D & D’. So I was pleasantly surprised when the scene was turned on its head, and Sansa, in a brilliantly written scene, turns Littlefinger’s words on him and has him comprehensively torn to pieces. Then there’s Aidan Gillen’s reaction; he goes from mild confusion to desperation to a complete broken man in a scene that demonstrates the full extent of the actor’s ability. Farewell, Littlefinger. I won’t miss you… but at the same time, like all good villains, I think I will.
On the whole, I still don’t think this justifies the Winterfell storyline this year, which has been damnably poor in places. Though at the same time, I don’t think Benioff and Weiss could have conceivably written anything else. Winterfell is “on hold” this season, and for the plot to last until the finale, Littlefinger has to make some dumb decisions and Bran has to not bother talking to his sisters.
The scene ends with Sansa’s “the pack survives” line from the trailer. I was pleased to see the reprisal of the battlements shot from “The Winds of Winter”. Indeed, I would not be surprised if this shot closes out the series, with the surviving Starks standing solemnly together on the wallwalk as we cut to black one last time.
Sam turns up at Winterfell unexpectedly late in the episode, and immediately shares his findings with Bran, in a scene that felt a bit ‘off’ for reasons I can’t really describe. Bran then does some shady stuff with the fire and transports himself to Rhaegar and Lyanna’s wedding. I found it strange that Bran didn’t already know about this; considering that he’s done so much ‘research’ into Jon’s lineage, his findings didn’t really amount to anything. After so many years, we finally see Rhaegar… and he’s a bit disappointing, looking a bit like a discount Viserys. Personally I think would have been better to tease us with the joining of hands, but not to show Rhaegar’s face, but it’s not a huge problem, I suppose. This scene is intercut with Jon and Dany having tastefully directed sex on a boat… #BoatSex it wasn’t everything it had been cracked up to be, but then again, what more do you want? Also, Jon Snow’s name is Aegon, apparently. I still think Aemon would have been a much better name for him, but it’s not like everyone’s going to be calling him Aegon next season, is it?
The episode ends with the Wall coming down. The Night King soars in on Viserion and burns the whole thing to rubble, allowing the army of the dead to swarm through the gap while an ice dragon soars overhead. It was what I’d been expecting since the start of the season, but seeing the great icy monolith – one of the few remaining constants in Westeros – come crashing down truly emphasized the power of the foe that the Seven Kingdoms will be facing in the wars ahead.
“The Dragon and the Wolf” is the episode that has rescued Season 7. It’s not a quiet episode, but it is reflective and thoughtful, and the reunions we saw here will not be easily forgotten. More than that, from a visual and cinematographical standpoint, this is possibly the most beautiful episode in the entire show. Whatever missteps Podeswa and Middleton made in previous seasons are always and completely forgiven. I’d be surprised to see this director back for Season 8, but with this sort of legacy, does it really matter?
It would be remiss not to recognise Michelle Clapton and Ramin Djawadi for their roles in this episode. Having everyone all in black has been unsettling, but it has paid off, and Djawadi’s score – particularly “Truth” and “Army of the Dead” – has been exemplary.
As for Benioff and Weiss… well, they’ve made some mis-steps with this season, notably in “Beyond the Wall”, but if you want proof that they can write, look no further than this episode. Oh, I’ll nitpick them to death, but I respect these ‘talentless hacks’ really.