Review: Game of Thrones, Season 7, Episode 7, “The Dragon and the Wolf”

“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.

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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.

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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?

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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.


Review: Game of Thrones, Season 7, Episode 6, “Beyond the Wall”

“Beyond the Wall”, the latest in David Benioff and D.B. Weiss’s list of inspid, blandly-titled Game of Thrones episodes, is arguably the episode that encapsulates the best and the worst of Season 7. I imagine this will be a divisive episode among the majority of the fandom; it’s certainly an episode where you can make an equally competent argument for it being among the show’s best or among its worst.

Unfortunately, I fall into the latter category of reviewers. “Beyond the Wall” is very similar to “Battle of the Bastards” in the regard that it sacrifices logic for action, but unlike BotB, its strengths are less impressive, and its failures are more pronounced. With BotB, I enjoyed the ride all the way through, and its logical inconsistencies only occurred to me on subsequent rewatches and on reading through forums. “Beyond the Wall”, however, is the first episode where the sheer graceless stupidity of the plot has negatively affected my first viewing experience.

My issue with “Beyond the Wall” is that it is downright insulting to anyone who puts a bit of thought into what they’ve just seen. Benioff and Weiss’s writing is downright dumb, and of a far lower quality than what I’ve come to expect from them, and they aren’t helped by Alan Taylor’s directing, which felt like an extended montage of ‘cool stuff’ instead of a cohesive narrative. I won’t deny that the big moments, like Viserion’s death and resurrection, were very well done, and will be game-changing, but as a whole, the episode left a sour taste in my mouth that I haven’t experienced since “No One”.

I’ll start with the Arya and Sansa scenes, as these will be the easiest to review… but at the same time, they managed to be the most awful. The lack of cohesive storytelling left me baffled, and I did wonder whether the scenes had been edited into the wrong order. They make no sense. This aspect of the episode was a colossal mess, saved only by Sophie Turner and Maisie Williams who both try their best, but ultimately fail to overcome a God-awful script, and ultimately give performances which are quite average compared to their usual high standards – especially Williams, who seems deathly flat.

The Winterfell plotline in Season 7 is genuinely worse than Dorne in Season 5. Dorne was merely bad, but Winterfell is on a whole other level, as beyond the reunions of the three Starks, it seems that any character who goes to Winterfell actually regresses – most notably Arya, but also Sansa and Brienne, who both seem to be running in circles that go nowhere. In their quest for ‘cool moments’, Benioff and Weiss have chosen to alter their characters at random to create a contrived, ‘exciting’ plot. Arya seems to have forgotten her “master assassin” training to become “a hypocritical and completely irrational bitch”. Sansa fares slightly better, but again the issue is simple: the Winterfell plotline is a slower-paced story that might have worked in the context of Seasons 1-6, but is completely out of place here, requiring its characters to just sit down and do nothing while everyone else in Westeros zooms around at 10,000 miles per hour. It also requires Bran – the all-seeing eye of the Seven Kingdoms – to do nothing at all.

I do have one outlandish theory – that Arya killed Littlefinger at some point between “Eastwatch” and this episode, and is now playing a game with Sansa, seeing how suggestible she is to southern whims. However, with what happened last year in “No One”, I don’t have high hopes for this, and I’m expecting the contrived drama to be solved in an equally stupid way.

(Also, the budget must be gone, because there are apparently no people in Winterfell save for Arya, Sansa, Brienne and Littlefinger.)


Meanwhile on Dragonstone, Peter Dinklage put on a firm performance, but again it falls into Benioff and Weiss’s mentality of telling instead of showing, forcing us through exposition that only serves to fill up space in the episode and other than that, just seems like an empty void. Then Dany receives the raven from Eastwatch and flies off to the land of magic and mystery.

North of the Wall, we open with some good conversational scenes. I particularly enjoyed Jon and Jorah’s conversation about the Old Bear and Longclaw. It was one of those scenes where the conclusion was entirely predictable, but it was fun to watch anyway. And even though I don’t love Jorah as a character, I can appreciate that Iain Glen is a fantastic actor. And the shared insults between Tormund and the Hound was the funniest conversation of this season; I might think Brienne is doomed to end up with Jaime, but I can’t fault the Giantsbane for trying.

Some time later, Gendry manages to run all the way back to Eastwatch (at the outside, that’s surely 10 miles or more, making at least 2 hours running time in heavy snow). He then has Davos send a raven Concorde airplane to Daenerys, requiring the bird to fly for about 1200 miles (24-30 hours), and then fly a dragon back (12 hours), while Jon and his crew of Dumb Cunts stay on their island for the better part of two days. I wouldn’t be surprised if they cooked and ate Thoros’s corpse during this time, because given the stupidity of this plan in the first place, Jon probably didn’t bother to take any provisions north with them.

D & D seem to have forgotten that they have a boy who can send messages instantly over at Winterfell, which would be a much more plausible explanation. Bran could inform Daenerys of the circumstances north of the Wall – and Melisandre, if she’d stuck around, would also have worked. That way, we wouldn’t have to see Dany until late in the episode, which would have made her arrival a genuine surprise.

Either way, they’re fine until the Hound throws a rock at the wights, which is apparently the signal for the mass attack, as the Night King didn’t realise that the ice was weak until it was demonstrably such. Anyhow, a moment later, the entire wight army surges across the ice, and then there’s a battle of epic and preposterous proportions, where Jon and his band of 5 named characters and 3 redshirts, fight off the army of 10,000 dead men. No prizes for guessing who died. Even so, it’s faintly ridiculous that they manage to hold on for as long as they do. There are some nice ‘hero shot’ moments, and the choreography of the sequence is outstanding, but the whole thing is slightly unbelievable, and there are no stakes and there is no horror whatsoever.

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Props to Jonathan Freeman for the cinematography throughout this episode, and to Alan Taylor for the directing, though I don’t think this was his finest hour on Thrones; the battle sequences in the latter half were entirely without suspense, even though that was mostly due to D & D’s unwillingness to create any tension by, you know, actually killing people other than Wildling #4. I expected us to lose Beric as well as Thoros, and Jorah, and possibly even Gendry. Back in a time when Game of Thrones had consequences, we almost certainly would have. Instead, Thoros dies, and… oh, that’s it.

Oops, I forgot about Viserion. This was the most unexpected twist of the episode, and it was possibly the finest triumph of visual effects ever seen on Game of Thrones; the dragon plumetting into the icy waters, blood and fire exploding out. And I can’t deny that I was in the edge of my seat as I watched Dany and her band of misfits fly away, abandoning Jon… but then I realised that the only reason they had to abandon Jon was because he’d entered a stupid battle rage, holding off the wights for no reason other than a shot of him staring dramatically at the Night King, and so he could drown, then be revealed as ‘not dead’, then get surrounded by wights, then get saved by Uncle Benjen, then have Benjen sacrifice himself even though there was enough room for both of them on that horse.

I’ve heard people asking why the Night King didn’t just kill Drogon instead of Viserion. I’m going to assume that he thought Viserion was a more immediate threat to his army – though this is a bit flimsy, given that he threw an ice spear at Drogon almost immediately after. I’m assuming the Night King set up this trap deliberately so he could get hold of a dragon, in which case he must have been chuffed to find out that people as stupid as Jon Snow exist.

After Jon’s miraculous and ‘unexpected’ escape, he and Dany find themselves on a boat. There is genuine chemistry between Kit Harrington and Emilia Clarke, and the romance is one of Thrones’s more believable ones. Emilia Clarke’s acting was superb this episode, something I doubted I’d ever say, covering the full range between vulnerability and empowerment and reflective sadness. Her realisation that the white walkers exist, and her reflection to Jon, is one of her finest moments as an actress. At the same time, lines like “thank you, Dany”, and the ensuing nonsense, prove that the kudos should go to Harrington and Clarke, not Benioff and Weiss.

Overall, what should have been one of Game of Thrones’s finest episodes turned out to be one of its most disappointing because of the atrocious writing, proving, once and for all, that lots of explosions are no substitute for a compelling story.

P.S. Kudos to Michele Clapton and the costumes department. Dany’s winter dress/gown/thing is my favourite costume of this season.

Review: Game of Thrones, Season 7, Episode 1, “Dragonstone”

This review contains SPOILERS for the first episode of Season 7 of Game of Thrones entitled “Dragonstone”, and for all episodes preceding it, and for the A Song of Ice and Fire series of books by George R.R. Martin, up to and including sample chapters from The Winds of Winter.

“Shall we begin?”

So says Daenerys Targaryen (Emilia Clarke) in her only line of Season 7’s premiere episode, somewhat oddly titled “Dragonstone”. The idea of new beginnings is prevalent in Dragonstone, which starts again after last year’s finale wiped the slate clean and concluded storylines that had been building up for the better part of six seasons.

The episode’s new beginnings come from vastly different quarters: Cersei Lannister, having gained a throne and lost everything, continues her trail of vengeance. Jon Snow, King in the North, establishes his new leadership. And for Dany, the new beginning is also an ending, of a sort; she has come full circle, returning to the island where she was born, and back to the beginning of the Targaryen story.

The cold open of the episode is somewhat at odds with this theme of new beginnings, though: we open at the Twins, where David Bradley – who can now sort-of add ‘Arya Stark’ to his list of onscreen roles – delivers one of Thrones’s most satisfying speeches. It was obvious from the first moments of the scene that Arya was wearing his face, but in a way that made the gradual reveal even more enjoyable to watch. There’s a brilliant shot of Arya (now wearing her own face) walking through the Twins’ hall through the mass of bodies that brings to mind an iconic shot from Season 3’s “The Rains of Castamere”.

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In the credits sequence, Oldtown gets a nice clockwork animation complete with a spinning astrolabe, and Essos is omitted entirely. Arguably, the omission of Essos is what makes this episode so thematically focused – in previous seasons, shoehorned scenes from Meereen often disrupted the flow of the episode.

The episode properly opens with a lovely atmospheric shot of the dead marching on the wall. Jeremy Podeswa excels at these sorts of scenes – his directorial style is suited to dark, moody silence. I half-expected to see a wighted version of Hodor marching through the snow, but ultimately I think that would have distracted us from the sheer gravity of the situation. Podeswa, with input from composer Ramin Djawadi, constantly reminds us throughout the episode of the mounting threat. Notably, the sequence with the Hound and the Brotherhood (more on that later) is made even more tense by the muted percussion of Djawadi’s “Three Blasts” theme, and the framing of the characters with a great deal of empty, mysterious, cloudy space behind them. Even though I knew white walkers would not suddenly materialise on Riverlands, the scene still had me on edge.

Bran and Meera’s scene was fairly standard. It was good to see Dolorous Edd again, but it was exactly what I expected. There’s not much to say here.

Over in Winterfell, Jon sits down to his first proper council meeting. He decides that the Karstarks and the Umbers should be allowed to retain their lands in spite of their parents’ failings. Perhaps Jon’s feelings about this matter stem from his relationship with Lady Catelyn, who despised him for his (supposed) bastard parentage. I was a little disappointed by Alys Karstark, who was quite a major character in A Dance with Dragons, but from what I understand of casting news, she has a larger role going forwards. I felt this sequence was slightly over-dramatic, and the Umbers and Karstarks swearing their fealty to Jon probably didn’t merit the dramatic reprisal of his theme from “The Winds of Winter”.

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Sansa puts up an argument, but Jon upholds his decision. Here, we see Sansa being the more reactionary and directly antagonistic member of the pair, a trait she’s had ever since “Book of the Stranger” in Season 6. This ties in nicely to her later point that she “learned a lot” from Cersei, who is similarly reactionary and vindictive when it comes to dealing with her enemies. Sansa’s decision to punish people for their crimes is not innately in her nature; in A Game of Thrones and Season 1 of the show, we see that, unlike Arya, she doesn’t hold to ideas of retribution, and believes Joffrey when he says he will forgive her father (though arguably this is because of her naivety more than anything else). Sansa’s understanding of, and desire for, retribution has grown throughout the series, shaped by Cersei, Littlefinger and Ramsay, who – however hard she tries to deny it – is “a part of her”.

Despite her arguably flawed logic, Sansa makes a convincing case, and this is testament to Sophie Turner’s acting ability. Turner has a tendency to overact at times, and her early seasons as Sansa required her to maintain a blank, impassive expression at all times. However, when she strikes the balance between these two extremes, she’s a fantastic actress. Her performance in “Dragonstone” is one of her best. Despite her somewhat confusing public messages about Sansa, Turner definitely understands her character.

Moving on: in King’s Landing, Cersei proves her general awfulness by walking over wet paint. The courtyard scene makes fantastic use of natural lighting, and the shot of Jaime and Cersei standing on the map is one of my favourites of the episode – with Cersei symbolically standing on the Neck of Westeros, placing it in a sort of stranglehold. Lena Headey and Nikolaj Coster-Waldau have some of the best chemistry of any two actors on the show, and both are individually fantastic, so it goes without saying that their performances here are great. The main emotion that comes through in this scene is how far detached Cersei has become from the reality of the situation facing her. I love Headey’s Cersei; her generally unhinged view of the world makes her a joy to watch. With Tommen gone, hopefully we’ll see some of Cersei’s deranged alcoholism from A Feast for Crows slipping through in future episodes.

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Unfortunately for Nikolaj Coster-Waldau, Jaime’s character development is still stuck in a rut. Yes, he’s saying things that suggest character development, but these are things we’re intelligent enough to imply, and like most of Jaime’s characterization since Season 4, they appear to have no effect on his character. For the majority of the story he just limps around looking like a whipped dog. Show Jaime has served almost exclusively as either a plot device or as a foil to Cersei these past two seasons. Dorne was a pointless heap of shit, and while “Blood of My Blood”, “The Broken Man” and “No One” offered some depth to Jaime in Season 6, this episode doesn’t suggest that Jaime has any lasting horror at Cersei’s destruction of King’s Landing. That being said, it is still early days.

Cersei and Jaime stand next to a nice wall in Dubrovnik or Sevilla or wherever the hell they’re filmng it this year, and watch as Euron arrives. Podeswa echoes a shot he previously used to show Jaime’s arrival in the Season 6 premiere, “The Red Woman”. Euron’s navy is fantastically well-done by the FX teams, and his flagship (possibly the Silence), looks very foreboding in black wood and black sails. I’ll gloss over the fact that Euron supposedly built a thousand ships in a year, on an island with very few trees, and cut straight to the throne room scene.

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It’s very rare that Michelle Clapton’s costuming goes wrong. In this episode alone, Cersei gets a new gown similar to the one she wore for her coronation; Sansa puts her ring necklace on again, and the whole of Dany’s crew – all dressed in black – look amazing. But Euron looks like an alcoholic misfit from a second-rate punk rock band who accidentally time-travelled into the Middle Ages. Pilou Asbaek is better than he was in last year’s travesty of a kingsmoot, but he still lacks proper menace, and comes off as more comedic than scary. Euron is one of a few characters for whom I can say that I prefer the book adaptation in every way. Presumably, the decision to keep his men outside the throne room is intended to make him seem more intimidating, but overall, he seems more like a deranged hobo than the King of the Iron Islands. Nonetheless, the trio of actors manage to salvage a good scene, helped along by good writing and clever use of lighting to heighten the tense mood. Cersei talks about the risks of Euron betraying her, but we know she would be just as likely to betray him. Either way, the chance of these two ruling side-by-side is nonexistent.

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The next scene takes us to Season 7’s first new location: the Citadel in Oldtown. I like the Oldtown sets and the sense of loneliness and hostility we get from them, even though they’re places of learning. It’s very different to the Citadel presented by GRRM in A Feast for Crows, where Pate (from the prologue) and Sam both find companionship early in their time there. The Citadel in ASOIAF pretends to conform to the ‘Hogwarts model’, of a school/university for the protagonist to have exciting adventures in with a cast of new friends, with a suggestion of mystery beneath. The Citadel in GoT doesn’t even bother with that veneer. In Sam’s scenes, no one talks to him outside of Archmaester Slughorn and Gilly, and while the corridors are bright and airy, there are secrets hiding everywhere: in the depths of the library, and in the mysterious quarantine room where Jorah Mormont is kept.

This comes across especially well when contrasted with Sam’s homely scene with Gilly towards the end of the episode. Sam might have friends outside the Citadel, but he has none inside it. In a way, the Citadel have forbidden him from having companionship, forcing him to become one of an order of like-minded individuals. This links nicely to what Barbrey Dustin says in A Dance with Dragons about the maesters being entirely focused on the preservation of order.

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Archmaester Slughorn (who may or may not be Marwyn the Mage) is an interesting new character. Jim Broadbent fits the role well – it’s almost as if he’s been asked about restricted sections in libraries before. Though I think he had good screen chemistry with John Bradley’s Sam, I have to wonder whether Slughorn’s character is, like Marwyn, different to the other archmaesters, or if he represents the popular worldview at the Citadel. If it’s the latter, it’s a bit baffling that the Citadel hasn’t given Sam any help already. But if Slughorn/Marwyn is viewed by the ‘grey sheep’ as a brain-addled outsider, it could open up some interesting plotlines about a rogue, slightly crazed maester.

I’m not going to say much about Jorah or Gilly, as I don’t think their scenes were substantial enough to warrant lengthy comment. However, it’s good to see that they’ll (hopefully) have bigger roles this season than they did in the previous one, where they were only in 3 episodes apiece.

I haven’t forgotten the ‘shitty montage’ that opened the Oldtown storyline. I found it hilarious, both because it’s so anachronistic compared to the rest of Thrones, and partly because of John Bradley’s mildly disgruntled ‘this is turning out to be a shitty day’ face. However, I do think the montage has some sort of significance. It sets the world of the Citadel (more like Shittadel, amirite?) apart from the rest of Thrones. Even though this whole plotline is based on Sam finding out about the white walkers, it instead focuses on the menial jobs Sam has to complete to reach his goal. You can almost hear Yoda saying, “to become a Jedi master, through a field of shit you must wade.”

As much as I enjoyed our brief foray to Oldtown, my favourite part of this week’s episode was the time we spent in the Riverlands. Benioff and Weiss put together two truly remarkable scenes here. The first features Maisie Williams’ Arya coming upon half a dozen Lannister soldiers in the wood. Podeswa does a great job in making the scene feel tense, and we, as skeptic Thrones-watchers, are waiting for the soldiers to suddenly jump up and try to rape her at any minute. We’ve got so far into the ‘Lannisters are evil’ mentality, that we, like Arya, are instantly suspicious, and only too ready for the approaching swordfight. There are prolonged shots of Needle, and just when we start to feel settled there’s an odd, jarring piece of dialogue – “a nice young girl” – that brings the tension back all over again. It’s a fantastic scene, and wonderfully meta; the audience, as well as Arya, has become conditioned to violence. True, there is a slightly anachronistic line in there as well – “are you old enough to drink?” – but it’s not enough to diminish the effect of the scene. Oh, and Ed Sheeran’s there, too. He looks weirdly Photoshopped into the scene, even though I know that’s not true.


The best scene of the episode is the one that follows this, though. Sandor Clegane is a character who frequently slips under my radar, but Rory McCann’s performance in this episode is so good that it’s cemented him as one of my favourite characters all over again. The Hound’s wit is positively acerbic, and he gets all the best lines – “you think you’re fooling anyone with that topknot? Bald c*nt.” But on top of that, the scene continues the Hound’s personal development from “The Broken Man”. He has been spiritually reborn, and you can tell. McCann expertly portrays his genuine sorrow at the deaths of Sally and her father (from “Breaker of Chains”), but honestly I think credit is due here to Benioff and Weiss more than anyone else. This isn’t a scene that needed to exist, but I’m so glad it does. The Hound’s attempt to recite a prayer he clearly doesn’t know shows the extent of his goodwill, and his willingness to stare into the fire shows how far he’s come from a time when he regarded fire as his greatest enemy.

And this scene has some of Podeswa’s finest directing: dark, sobering and reflective. For the record, I think “Dragonstone” is actually the least Podeswa-esque of this director’s five offerings for Game of Thrones so far, and the least visually compelling, but it’s still damn good, and honestly I think Podeswa is better than Sapochnik or Michelle MacLaren when it comes to sequences like these.

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And then we come to the grand finale: a majestic visit to Dragonstone which is a triumph of production design. The whole thing is borderline orgasmic, a grandiose ‘look-at-me’ scene, piling iconic shot on top of iconic shot. The sets are among the best Thrones has ever produced, and it’s clear where the episode spent most of its increased budget. Dragonstone looks better than ever, and it’s a triumph of cinematography as well as visual and special effects – once again, some of my favourite shots from the episode are in here.

The final sequence is thematically significant too. It’s key to the scene that Tyrion walks a few steps behind Dany, allowing her discovery of home to be a significant individual experience. You can see Missandei holding Grey Worm back: this is Dany’s place, this is Dany’s time. It’s one of Emilia Clarke’s best sequences as the character (without being unecessarily unkind, that’s possibly because she doesn’t say anything). The lack of dialogue, coupled with Ramin Djawadi’s dramatic continuation of the ending soundtrack from “The Winds of Winter”, allows us to experience the same awe that Dany is feeling. And in this silence we can more easily appreciate the moments of significance. The most obvious of these is when Dany rejects the throne room for the Chamber of the Painted Table; she heads straight to war, following the destiny Daario Naharis laid out for her: “you’re a conqueror, Daenerys Stormborn.”

“Shall we begin?” she says. And begin we will.

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Notes and Side Bits:

Bloody hell, this was an easy paycheck for Peter Dinklage. $1 million plus first billing, and he doesn’t even have to say one line.

Maester Wolkan (at Winterfell) has visibly aged, quite a bit.

Despite initially disliking Lyanna Mormont, I’ve really enjoyed her part in this season.

Ed Sheeran sings “Hands of Gold”, which Symon Silver-Tongue wrote about Tyrion and Shae in A Storm of Swords. Given that Symon doesn’t appear to exist in the show’s universe, I have to wonder where the song came from.

My favourite line of the episode is one I haven’t really discussed, a meta reference to one of Littlefinger’s more irritating habits. “No need to seize the last word, Lord Baelish,” Sansa says. I’ll assume it was something clever.”

For me, the best actor of the episode was Rory McCann (the Hound), with second place going to Lena Headey (Cersei), and the best guest actor was probably Richard Dormer (Beric Dondarrion), with Paul Kaye (Thoros of Myr) in a close second.