TV REVIEW: Game of Thrones - The Watchers on the Wall

The ninth episode of a Game of Thrones season is always something special and finding out a title in order to work out what it will feature has become almost an event in itself. The Watchers on the Wall also happens to have been directed by Neil Marshall, last behind the camera for the outstanding Blackwater, and written by David Benioff and D.B. Weiss so it is not without pedigree. That pedigree produces one of the most spectacular episodes yet as the wildlings finally attack the wall.

As with Blackwater, the battle at the Wall is afforded an entire episode over which to play out as tension mounts within the Night's Watch. The narrative takes place over three main acts that takes in the pre-battle nerves, the outbreak of fighting itself and the bloody aftermath. Perfectly paced and elegantly constructed, Benioff and Weiss utilise the established camaraderie between Jon Snow, Sam, Grenn and Pyp and the angry figure of Ygritte to form the emotional threads of the episode, building the rest of the action around them and thus ensuring that the violence carries more of an impact.

Much of the tragedy and humour arises from how young and inexperienced these men are; Ser Alliser chastising them all on the misinterpretation of 'nock' is particularly entertaining. Sam feels this more than most with his guilt over losing Gilly which pushes him to question Jon about sex with Ygritte. The awkward humour is played beautifully between John Bradley and Kit Harington whose chemistry often makes these scenes stand out. Their interactions throughout the episode are tinged with sadness and it is here, in this first scene, that a sense of playfulness is allowed to come to the fore, adding a much needed humour to the proceedings. 

That chemistry also extends to Pyp and Grenn. Both get their own triumphant moments; Grenn's recitation of his vows in the face of an oncoming giant certainly gets the blood up whilst Pip manages to fell a wildling before being struck down by Ygritte. Even Ser Alliser, still hating Jon to the last, gets to have his own heroic speech, leading the charge to defend the South gate. The time taken to affirm these relationships make the battle all the more affecting as it happens. These are characters we've known for a long time and whilst Pyp and Grenn may not carry the emotional weight of someone like Oberyn Martell, it is still galling to see them lost.

In the midst of it all is Jon Snow, offered the chance to prove himself as both a leader and a soldier. Harington rises to the occasion, the torment of every decision etched onto his face as he directs his friends to different parts of the battle and often to their deaths. Jon's always had a sense of being displaced, but after relieving Slynt of his command, he settles into a role and does it well, largely responsible for seeing the men through the night. His sense of honour and sacrifice is a defining trait of the Stark family (and one that usually gets them killed) and his decision to take on Mance by himself seems at once both extremely clever and foolish. Handling the emotional moments well (the last meeting between Jon and Yrgitte is particularly tearjerking), Harington does even better with the action sequences, getting to cut a swathe through the wildlings on the ground.

As you would expect from a top notch director like Neil Marshall, the action sequences are simply stunning, but none more so than a glorious unbroken crane shot through the battle on the ground. In this one moment, coupled with a haunting variation on the series' main theme, it's Game of Thrones at its most cinematic. As the camera whirls round, we see various pairs fighting, archers firing and men dying. It's a brilliant portrayal of the carnage reeked by the wildlings and manages to add an impressive sense of scale to a claustrophobic setting. It's such a feat of technical prowess that it almost overshadows the rest of the action, which is superb in its own right.

What is particularly impressive is how Marshall manages to make the battle feel huge at each front, both north and south. The wide shots of the oncoming wildling attack from the north emphasises that sense of the Night's Watch being outnumbered and he clearly has great fun using the 'scythe' defence. In the courtyard, the focus is much tighter and much more personal. There's a sequence from Ygritte's perspective as she looses arrows from the upper story of the courtyard. Even Ghost gets a look in here. Elsewhere, Marshall gets right up close and personal to the action as it plays out; there's eye-gouging, beheading, stabbings - virtually any appropriate bloody death you can think of gets a look in.

It's the finest episode of this season to date and probably one that will rank alongside Blackwater as one of the best of the entire series. Marshall's cinematic pedigree is excellent for such occasions and the combination of brutal action with smaller character moments is in a perfect balance. Another ninth episode, another triumph.

- Becky

You can read Becky's review of The Mountain and the Viper here.

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TV REVIEW: Game of Thrones - The Mountain and the Viper

As with every season, the last two episodes of Game of Thrones have really picked up the pace as we head down the season's home strait and it brings us here, to a clash that has been touted right from the opening episode; Oberyn Martell versus Gregor Clegane. There are plenty of other things going on in The Mountain and the Viper though before we get to that titular confrontation. Built around alliances and adversaries, the episode features mainly scenes focused mainly on the relationships between two characters or, in the case of the Wall-set moments, two groups at war with each other. It's an excellent thematic device, strengthening the dynamics between characters or in some cases, shattering them completely. It also builds well into the foreboding of the episode as we see the uneasy status quo of this season break down even further.

The opening scenes in Molestown set up a brutal tone for what is to follow, a dingily-lit rout of the citizens within as well as some unfortunate Crows who happened to be breaking the rules that night. A lot of the scenes at the Wall this season have felt a lot like padding, as I've mentioned before, but here, it is all forward momentum as the wildlings close in. The fast pace and editing of the scene leaves a little to the imagination as deaths happen in a reflection in a well or shadows against the wall, but there is a handy bit of gore as blood drains through floorboards whilst Gilly looks on. It also is at pains to point out that Ygritte still isn't an out and out villain in a world full of murky grey morality, allowing Gilly and her child to live and advising them to keep quiet.

The following scenes with Missandei and Grey Worm's burgeoning relationship temper the violence a little and although it perhaps goes on a little longer than necessary, it's a nice continuation from the language lessons we saw earlier in the season. Game of Thrones often breaks off for little asides with minor characters often and it works well, reminding the audience of the larger world around the main players. However, it is the later scenes with Dany, in which she discovers Jorah's betrayal, that pack a more emotional wallop. Emilia Clarke has been given little to do but look imperious and bark orders. Here, she portrays Dany's betrayal brilliantly, all hurt and quiet fury. Iain Glen too brings a noble man to his knees with Jorah, desperation creeping into his otherwise measured and assured actions. It's a fleeting yet significant moment, scored beautifully as ever, fracturing one of the longest standing relationships in a matter of seconds.

In contrast, the scenes in the Vale saw a new alliance form, born out of the desire for mutual self-preservation. The swift dispatch of Lysa in the previous episode left Littlefinger in the frame as he had only just married and looked for all the world like the kind of power-hungry creep he is. The court scene saw him flounder in the face of questioning, leaving it to Sansa to rescue her protector and prove herself adept at playing the political game. It's a showcase for Sophie Turner from the moment she enters, allowing her to play up the tortured heroine side of Sansa's character whilst also demonstrating her knack for manipulation. By the end of the episode, she has not necessarily proven herself equal to Littlefinger's kingdom-spanning scheming, but she's certainly a worthy apprentice.

Alongside this, we also get Arya and the Hound finally getting to the Bloody Gate, only to discover that Arya's aunt is now dead and therefore a ransom is unlikely. Arya really does have the worst luck of pretty much anyone in the show and in a wonderful, maniacal giggle, Maisie Williams channels that frustration and disbelief brilliantly. It's a moment of black humour but one undercut with a tangible sense of tragedy. After everything, Arya finally broke a little. 

Speaking of being broken, Alfie Allen's performance as Reek has been sublime from the opening of this season. Here, Reek is asked to don his Theon armour again and take back Moat Cailin (appearing in the opening credits for the first time). His delivery as Theon is stilted and rehearsed, further demonstrating that he has become Reek and nothing else now. We also get to see Ramsay Snow legitimised by his father and become Ramsay Bolton. I'm going to go out on a limb and say that's probably not going to do anything to curb the violence.

As a Lannister, Jaime's allegiances within his family have shifted constantly. With his relationship with Cersei all but over, he has been bonding with Tyrion. Their jail-based conversations have been tinged with a melancholy understanding of each other's predicaments and Nikolaj Coster-Waldau and Peter Dinklage have an easy fraternal chemistry that makes them all the more enjoyable. The glimpse back to their childhood here finds Tyrion contemplating the easy ability with which beetles can be squashed by someone much larger. A neat bit of foreshadowing to the battle ahead, Dinklage performs this monologue with all the wit and passion he possesses. This season, he has been continually excellent as his character is backed further and further into a corner and he's still set to face his biggest obstacle yet, thanks to the mutually assured destruction of the fight between the Mountain and Oberyn.

And so we come to the titular battle, a showdown between one man out for vengeance and the killing machine responsible for the death of his sister, Ellia. The episode teases this clash out an extraordinary amount to the point where it is left with just five minutes or so of the episode in which to get its work done. Thankfully, that five minutes is probably among the best action sequences the show has ever produced. The second Oberyn twirls into the arena, the battle ceases to be about Tyrion's freedom and becomes all-consumed with Oberyn's chance for revenge. 

In a big nod to that other vengeance-fuelled character, Inigo Montoya, Oberyn circles his prey repeating "you raped her, you murdered her, you killed her children" over and over again. The fight scene was impressive for a number of reasons, not in the least Pedro Pascal's brilliant performance as Oberyn goes from cocksure hero to a bloody mess in mere minutes. The casting directors and the writers have been particularly mean with Oberyn, because Pascal's performance has been so good that everyone just fell in love with him, myself included. He was sassy, he took no crap and looked every bit the champion in the arena. Of course, everyone should have known not to get too attached.

The direction of the clash, assuredly handled by Alex Graves, captured the ebbs and flows of the fight well ensuring that, if you didn't know what was coming, you probably would never have guessed. The choreography was also stunning, using the characters to provide them with fighting styles that reflected on them and their upbringing; whereas the Mountain was all bluster and large blows, Oberyn's movements were fluid and fast. The manner of his death was particularly violent, yet another memorable moment to add to the collection that began for most people with Viserys' 'golden crown'. It's not like anyone really needed reminded after the sword-in-mouth death of Kurt, but King's Landing is just as bloody and just as brutal as ever.

With the next episode the ninth in the season (we all know what means), the stage is set for some Neill Marshall-directed carnage as the wildlings finally reach Castle Black.

- Becky

You can read Becky's review of The Laws of Gods and Men here.

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TV REVIEW: Game of Thrones - First of His Name

Opening with Tommen's coronation, First of His Name is another episode which ranges across Westeros and Meereen, but rather than check in with everyone they possibly can, we get several focused scenes with select characters. In King's Landing, we follow Cersei through various conversations as she attempts to secure the future for Tommen as well as checking with Oberyn about Myrcella. Arya and the Hound have another confrontation, this time about what kind of sword is required to kill a man whilst Brienne finds herself coaching Pod into doing something useful as her squire. Sansa and Littlefinger have arrived at the Eyrie, greeted by her mad cousin Robyn and her mad aunt Lysa who promptly marries Littlefinger and lets the entire castle in on their wedding night. Finally, Jon's troupe closes in on Craster's Keep to take down the mutineers.

The previous two episodes have had a fair few issues with them, perhaps the most obvious of which was pacing. Oathkeeper was seemingly various long exposition scenes sandwiched between two outstanding sequences to open and close the episode. First of His Name has a similar problem, but this time, the strongest scenes are threaded throughout the narrative, which boosts the pace somewhat. It still feels like certain scenes are in there just to remind audiences of characters or to pad out the story until the next Big Event, but there were three key moments in this episode where it felt like Game of Thrones had begun to rediscover its groove.

Tommen's coronation was a nicely sombre affair tinged with humour as Margaery continued to apply her claws to the latest Baratheon on the Iron Throne. Her conversation with Cersei, in which the two acknowledged their mutual goals and respective ambitions was particularly well done and both Natalie Dormer and Lena Headey rose to the challenge admirably. Margaery and Cersei really aren't too dissimilar and seeing them exchange euphemistic conversation whilst actively trying to undercut each other is a delight. It also acts as a useful reminder of the ways in which women learn to survive in Westeros that doesn't involve some sort of sexual violence as a catalyst. Margaery is ambitious and knows her family affords her a certain amount of privilege. She can also work her assets in a way that no doubt Cersei once did. Cersei on the other hand resorts to her role as a matriarchal figure to get things done, namely by ensuring that Tommen will be married to a strong ally.

Speaking of females surviving, one who has done remarkably well for herself is Sansa, who believes herself to be in a safe place when she arrives at the Eyrie, only to discover her aunt and her son are quite bonkers. Kate Dickie's performance was gloriously unpredictable, calm and inviting one minute then all wild stares and accusations the next. Praise should go too to Sophie Turner who has managed to turn what was once a wholly unsympathetic character to someone we actively fear. Granted, Joffrey helped this transition, but it it was galling to see Sansa get to what she thought was finally a safe place only to have the rug pulled from underneath her once more.

Of course the big reveal in this moment is that it was Littlefinger and Lysa behind the poisoning of Jon Arryn which kickstarted all of these events way back when. With the death of Jon Arryn, Littlefinger put himself in a position through which to provoke the antagonisms between the Lannisters and the Starks whilst ensuring that he can keep the situation to his advantage. So far, so good. Long have people said that Littlefinger is the most influential man in Westeros and this goes some way to prove that. When Lysa asks why he cares so much about Sansa, she assumes it is because he fancies her for himself, which is a fair assumption really as Sansa is supposed to look how Catelyn did at the age when Littlefinger fell in love with her). However, with Sansa in his keep and Lysa in his marriage bed, Littlefinger has access to two of the most important strongholds in Westeros, the impenetrable Eyrie and the last known remaining heir to Winterfell. 

Michelle MacLaren is once again on directing duties and produces another stunning episode. I particularly loved the framing of the final shot in Meereen with Dany stood on the balcony with her back to both the camera and Ser Jorah, watching over her as ever. It was a beautiful visualisation of their relationship and how the power dynamic has evolved and shifted since their first meeting at her wedding. Another admirable sequence was the climactic fight between Jon and Karl, lit hauntingly by the central fire and shot at a frenetic pace. Then, of course, there was that final cathartic shot of Longclaw bursting through Karl's mouth which has to be one of the best non-Joffrey deaths of the series so far. Erlack.

It is that final sequence, coupled with the scenes in the Eyrie, that elevated this episode from another substandard affair. After what felt like weeks of the Night's Watch discussing the mutineers, something finally got done and in a suitably brusque and brutal fashion. It was also surprisingly emotional when Bran looked on to see Jon, failing to get his attention before being convinced it was probably best he didn't talk to his brother. Like Arya arriving at the Twins just in time for the Red Wedding, it was heartbreaking to see the two brothers gets so close without actually meeting (though for the longer narrative, it was preferable that they didn't). I also loved the simple scene with Jon as he is reunited with Ghost. It's a small moment but it's not often you get people reunited with friends or family on this show. Let's savour it when it happens.

It was in the minor scenes that once again those little niggles showed. Whilst Brienne and Pod provided some welcome relief, Arya and the Hound appeared again to re-tread the same ground they've already gone over in at least three episodes; life is hard, Arya needs to harden up. Maisie Williams and Rory McCann are one of my favourite partnerships on the series, but I can't help feeling they're being overused. It was welcome to see Williams' water-dancing which was beautiful to watch and to hear her finally say her list in front of the Hound, but again it felt like the scene went on to long to get their relationship to a point we knew they were at. It's a toxic one that Arya would do well to get away from, but it's belabouring the point somewhat now.

An improvement on last week's episode, First of His Name is all in all a mixed affair, but it is saved by two sequences which work to further the plot rather than delay it, injecting some much needed danger into the proceedings. We're now halfway through the season when things, traditionally, start heating up so let's hope this ascent continues.

- Becky

You can read Becky's review of previous episode, Oathkeeper, here.

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TV REVIEW: Game of Thrones - Breaker of Chains

Following on the death of a character, particularly one so universally despised as Joffrey, was never going to be an easy task. Usually it is left to the tenth episode of a season to let the pieces fall back into place after a major shock. Yet this is only the third episode and it seems to have wrongfooted the writers, not quite knowing how to follow the Purple Wedding. What does happen are various expositional scenes that do little to advance the plot, but instead, reposition the characters for future event setpieces. It's one of the most pedestrian episodes yet and as such, feels rather disappointing. And then there's that scene which just about everyone is talking about.

The scene in which Jaime has sex with Cersei is straight from the novels themselves. Crucially though, it is written and made clear that it is consensual sex. In the show, it is rape. Cersei protests right up until the scene cuts away, but Jaime overpowers her and carries on anyway. Now, Game of Thrones has always been shocking and has always made sure that the audience is always aware of the hostile environment in which these characters are operating in. 

However, this is the first moment in which I've felt that this has been a shock for shock's sake, an attempt at audience exploitation that looks like it is backfiring. It is completely out of character for one thing; Jaime may be a complete and utter git (pushed a child out of the window, folks), but he has always been clear and, in his own twisted way, honourable when it comes to his love for Cersei (pushing the child was for her after all). He's also adopted a strong moral opposition to violence against women which has been a key part of his character from even before the events of the series. Think how many times he defended Brienne during their time together. It makes absolutely no sense on a character level and completely ruins any redemptive arc that they have been building for Jaime throughout the third season.

Does this serve a reminder of his gittishness in the face of us all growing to like him so much? Perhaps. But changing that septor-tryst into rape feels like a cynical ploy to get a gasp out of the audience. Game of Thrones' morality has always been the murky side of grey and I don't think that there is any issues with that. I've certainly never raised it in my reviews before as it has always been inbuilt to key character developments. I don't understand how this has anything to do with Jaime and Cersei's broken relationship other than Jaime taking what he has wanted since he's returned.

There is also the issue that Game of Thrones has never been very good with dealing with the consequences of sexual assault (beyond saying "ooh it makes a bit dangerous for women") and has muddied the ever-complicated waters even more than the books did. The closest example I can think of is the consummation of Dany and Khal Drogo's marriage in the first season in which it was also changed from (albeit iffy) consensual sex to outright rape. From there, Dany and Drogo go on to have a loving relationship, despite the foundations of sexual assault and it was never again raised as an aspect of their relationship. With that as a precedent, I can't see the consequences of Cersei's rape being explored. I sincerely hope I'm wrong and that the show uses it for character development, but considering we didn't get a fallout from that scene in this episode, I'm not holding out much hope.

Then there is the abrupt tonal shift which jars more than a little. Following the horror of that scene, we check-in with Arya and The Hound, currently wandering around the riverlands somewhere. Arya's wit is something that is a constant joy to see and I loved how she dealt with the farmer by coming up with an entire family history off the bat, but it felt completely incongruous to what had gone before. Her interactions with The Hound are some of this season's best moments, but again, this is hampered by a desire to jolt the audience. The Hound beats the farmer and steals from him after accepting his offer of work with a protesting Arya shouting in his wake. It's another scene that feels a little off, mostly because it doesn't advance anything. We all know that The Hound is just out to survive and doesn't give a fig for anyone but the Stark girls (granted, he does have a complicated relationship with them). This scene felt like filler, and not particularly satisfying filler at that.

The shocks didn't end here either, though the remaining gaspworthy moments felt less exploitative than those previously mentioned and more in keeping with the progressing narrative. Ser Dontos was never going to make it out of King's Landing and, though he was lovely and chivalrous in rescuing poor Sansa, he was dead from the moment he took orders from Littlefinger. Likewise, the wildling attack on the village was carried out in suitably brutal fashion, serving to remind us of the dangers awaiting the Night's Watch. 

The quieter scenes were also consistently strong in this episode, contrasting sharply with the more brash moments. As ever, Oberyn proves to be just wonderful, an impish blend of hedonism and politics who is never short of something to say. Pedro Pascal versus Charles Dance appears to be a new Game of Thrones event and I can't say I'm complaining. The subtle menace to their interactions makes them all the more compelling and is another classic example of how well the writers do political exposition when it comes to the history of King's Landing and Dornish relations.

Saving its best sequence for last, Dany finally reaches the city of Meereen and gives another one of her characteristically fire-and-brimstone speeches, but not before we get to see Daario Naharis in action. The recast Michiel Huisman has impressed in a couple of brief scenes and continues to do so here, getting in on the action on a one-on-one combat. He also showcases his strong chemistry with Emilia Clarke and with that wink, casts out any lingering memories of the departing Ed Skrein. After the champion of Meereen relieves himself in front of Dany, she selects Naharis as her own representative, quickly dispatches his opposition and lets Dany speechify. The production design in this sequence was beautiful, with Meereen looking every bit the rich and daunting city. 

In fact, the production design was probably this episode's greatest strength, from the haunting funereal look of the Septor to the dank and dingy Dragonstone. Sansa's escape to Littlefinger's ship was also beautifully realised, the blue of the fog contrasting sharply to the red hues of King's Landing. This is a plot development I've been looking forward to getting to, as Sophie Turner was starting to have very little to do with her character in the capital. Now, Sansa finds herself away from danger but in the clutches of Littlefinger (amusingly, Aiden Gillen seems to have given up on making his accent at all consistent) which isn't the greatest place to be for a Stark.

After a strong opening two episodes, Game of Thrones has delivered one of its most uneven and troubling chapters yet, one that managed to be both place-setting filler and exploitative drama. Because it has always been so consistently strong, I have found this episode of to be perhaps the most disappointing in a long time.

- Becky

You can read Becky's review of The Lion and the Rose here.

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TV REVIEW: Game of Thrones - The Lion and The Rose

As ever, major spoilers in the following review... Please don't read ahead if you haven't seen this episode.

It's an outing at the writer's desk for George RR Martin himself this time as we enter the second episode of this season, The Lion and the Rose. It's a fairly big sign that something big is coming if you see Mr Martin's name in the opening credits and so it proves once again. The episode opens in brutal fashion as Ramsay Snow (Iwan Rheon) engages in a human hunt with companion and the newly christened Reek (Alfie Allen) by his side who has cast off his old identity as Theon Greyjoy. Bran (Isaac Hempstead-Wright) continues his journey north with Jojen (Thomas Brodie-Sangster), Meera (Ellie Kendrick) and Hodor (Kristian Nairn) and has visions of where they must go next. Then, to King's Landing, where the final preparations are being made for Joffrey (Jack Gleeson) and Margeary's (Natalie Dormer) wedding.

With a show such as Game of Thrones, there are always going to be those episodes where certain moments will overshadow the scenes that have gone before it for a variety of reasons. In some cases, it is from the sheer shock of what you had just seen, such as the Red Wedding. And it is to another wedding we turn for the other reaction that might overshadow the episode; sheer, unadulterated glee. It seems morally wrong to revel in the death of a character, but Game of Thrones doesn't exactly operate on an even keel when it comes to moral codes. Then there is the fact that the character in question is one of the most odious, most hated and downright evil characters to have ever walked across the screen.

Jack Gleeson's performance as Joffrey has always been one of the best in the series, capturing the Boy-King's maniacal love of power and the torture he inflicts on others. He's slowly grown into the character everybody loves to loathe and in some ways, it will be sad to see him go. However, just in case we had any sympathetic feelings at all, Martin leads up to the fatal moment with one of the worst acts of Joffrey's brutality not involving a crossbow. A not-so-subtle power-game between Joffrey and Tyrion showcases the King's hatred of his uncle, using a play with dwarfs to illustrate the War of Five Armies, not only humiliating Tyrion, but also torturing poor Sansa with some graphic attacks on the player representing her brother, Robb. Tyrion slowly placing his hand over his wife's during this scene was one of the sweetest moments in a dark episode.

And so to the death itself. Book readers will know how it is done, but I'm enjoying reading everyone's various theories around the internet (I won't be detailing it here). The episode had already been fairly brutal before we even got to King's Landing (more on that shortly), but there was an over-riding sense of things coming to an end slowly building throughout. With Shae sent away by Tyrion, Stannis and Melisandre regrouping at Dragonstone and the Boltons on the move, the episode felt more characteristic of the usual 'Episode 9' dramatic turns rather than the second episode. By the time we got to the wedding, the tension mounted slowly with every cruel comment or prank that Joffrey played. The moment itself was built beautifully as everyone slowly realised that he was choking; some hesitated, some rushed in gallantly, some stood back and watched it happen. And then for the fans, there was a nice, extended close-up of Joffrey's purple, bloated face, just so we could all make sure. It's not hard not to cheer at that.

Now to the scenes that we saw prior to the Purple Wedding. The episode opened far more brutally than it would later end, as Ramsay Snow uses his authority to engage in a hunt, chasing down a young woman with hounds and his bow-toting companion. The hunt itself was composed well, building throughout and getting considerably more graphic as the victim was chased down. Whilst not quite at the Joffrey level of hatred just yet, Snow is putting in a decent bid to replace him as the show's most reviled character. Theon may have been an ambitious but useless leader, but his plight is a sympathetic one and Allen's performance of the transition from the brash, over-compensating Theon to the maligned, broken Reek has been excellent. The look on his face when he found out that Robb was dead was heartbreaking.

Amidst all the death, we also got a few quieter scenes to highlight some of the underlying issues in Westeros. A particularly good scene was that between Tywin and Olenna (Diana Rigg is just marvellous isn't she?) which reminded everyone of the Westeros financial troubles. Tywin may shit gold as the saying goes, but the crown still owes a hell of a lot of money. Can we also have a round of applause for Oberyn, the sassiest man in Westeros? Seriously, Pedro Pascal is knocking this role out of the park. I want to see him go toe-to-toe with Tywin and Cersei at least once a week for this season. I also loved the scene between Jaime and Bronn. I may still remind myself that Jaime once pushed a child out of a window, but the fact I have to do this is a testament to Nikolaj Coster-Waldau and the writers for giving him such a compelling, sympathetic arc.

The fourth season is clearly set to pull no punches, starting with a major demise in the second episode. The big, dramatic moments will always be the ones that people remember, but where Game of Thrones really excels is those scenes in between.

- Becky

You can read Becky's review of the previous episode, Two Swords, here.

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TV REVIEW: Game of Thrones - Mhysa

This is it. The season finale of Game of Thrones; the last hour that we get to spend in Westeros this year. Well, unless you're planning on mainlining the previous two seasons at some point (hint: you totally should). So how did the finale stack up?

A longer episode than usual, the extended run-time allowed for the show to not only deal with the fallout from last week's episode, but also to set up the character arcs and narrative threads for next season. Having the show's big climactic moments in the ninth episode allows the tenth to breathe and so it does, slowing down the action once again in favour of development. It is largely successful in this respect, revisiting faces we've seen throughout and also returning to those we've not seen so much. It was a good refresher and has set up a nice level of anticipation for the next season which feels like an age away.

First of all, the aftermath of the Red Wedding was seen from the perspective of the two remaining Stark ladies, Arya (Maisie Williams) and Sansa (Sophie Turner) in their respective settings. For Arya, this included what was a shocking moment (and was in the books too) as Bolton and Frey's men replace Robb's head with Grey Wind's. I must admit, I didn't expect them to actually show this as it is a horrific defilement and to watch Arya seeing it sometime just made it that much worse. Arya had some big scenes in this, particularly her attack on the soldiers on the roadside. We've been told all season that she was capable of killing men and in this episode she proved it in a particularly frenzied stabbing. Not that we weren't all rooting for her. There was also a neat reminder of Jaqen H'Gar's promise to her and his coin; 'valar morghulis'. It's a big hint to where Arya is heading.

Sansa, though a character I used to detest, has had one of the most impressive character arcs across the three seasons as she is forced to watch her idealisations smashed, first by Joffrey (Jack Gleeson). Well actually, mostly just by Joffrey (who also got an excellent dressing down in this episode. Most satisfying). Turner's performance has been excellent throughout the series and the scene between her and Dinklage as they walked together had a nice unromantic chemistry. Of course this was all shattered moments later when we were treated to another fantastic scene between Dinklage and Charles Dance's Tywin Lannister which further informed us as to the reasons behind Tywin's unabashed hatred of his son. It was powerful stuff.

Family was very much the theme of this final episode, either the fracturing (as in the previously discussed moments) or the potential reuniting of them. We've had plenty of reminders that Theon (Alfie Allen) is being tortured by a mysterious boy, now revealed to be Roose Bolton's bastard son Ramsay (Iwan Rheon) who gives such a gleefully psychotic performance, it's impossible not to admire him. The breakdown of Theon's identity was well-handled as he becomes Reek, a fascinating character in the books. I hope they do it justice. The storyline also set up a new narrative for next season as we return to the Greyjoy's stronghold to see Theon's father Balon (Patrick Malahide) and his sister Yara (NAME) who receive a certain package (pun very much intended). 

Now let's all take a moment to mourn the romance of the series as Jon (Kit Harington) finally had to say goodbye to Ygritte (Rose Leslie) and return to his brothers at Castle Black. The pair had great scenes together and often provided some of the more light-hearted moments and it's a shame we probably won't get to see them together all that much. That being said, it was also great to have the best bromance on the Wall reunited as both Sam and Jon return to Castle Black. Jon's actual brother, Bran (Isaac Hempstead-Wright), is now north of the Wall after a nicely creepy scene that foretells just how severe the ramifications of the Red Wedding could be for Walder Frey (David Bradley). Hospitality is a massive deal in Westeros and the story of the Rat Cook highlighted just how serious it is.

And so we come to the final scene which sadly was probably the weakest of the episode as Yunkai opens its doors to Dany (Emilia Clarke) and declares her to be their 'Mhysa' or their mother. Although impressively staged - the shot of Dany on the steps with her entourage was amazing - it lacked any of the emotional punch that the last scene of the season should have. Thinking back to last season, we had the first major glimpse of the army of white walkers heading south for the Wall. The threat had been talked about for so long, to finally see it was shocking and memorable. With the final overhead shot of the slaves circling Dany, it looked great, but it didn't leave my jaw dropping to the floor.

All in all, it has been a cracking season, slow-paced yet but measured and with some wonderfully shocking moments that made just about everyone shout at the TV or leave them completely struck dumb. If anything, it has proved just how committed David Benioff and D.B. Weiss are to creating this world, if there was any doubt at all. It's a fantastic adaptation and I'm already mourning the fact that it won't be here next Monday.

- Becky

You can read Becky's review for The Rains of Castamere here and check out her look at the Red Wedding here.

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FEATURE: Game of Thrones - A Lion Still Has Claws

This is a post especially for those of you who have now seen the ninth episode of the current season of Game of Thrones, The Rains of Castamere, and as such, contains major spoilers. Huge ones. Some as big as your head.

The Rains of Castamere was an important episode for many reasons, not least of which it finally saw the strongest branch of the Stark family defeated, a massive consequence for the political landscape in Westeros. It also proved to be a bit of a shock for its audience, particularly those who haven't read the books and therefore had no idea that it was coming. However, for the rest of us, who have read A Song of Ice and Fire, the episode also heralded the moment in which the dramatic irony of the season, the weight of expectation, the torture of knowing what was on its way was finally relieved. I could have spent my entire review talking about this one scene and the build-up to it throughout the season, but that would have been unfair to the rest of the episode. Therefore, here is my follow-up piece to talk about just why this scene could possibly become the show's defining moment.

My relationship with A Song of Ice and Fire has been relatively short compared to some people's; I started watching the television series, got halfway through the first season and promptly bought all the books. I couldn't bear to get too far without having read them first and so I sat down to read the first, halfway through my third year final exams. Not the best idea, I think you'll agree. By the end of the summer, I'd read them all, but there was not one moment more shocking, more emotional and more heartrending than the Red Wedding. It's one of those literary moments where everyone who has read it has had their own emotional reaction to it; some people threw the book across the room and never picked them up again, some had to take a break and walk away from it for a bit. Personally, I read the chapter and didn't quite believe what had just happened. So I read it again. No, it definitely happened. And it was traumatic. 

David Benioff and D.B. Weiss have long stated that this was the event that they wanted to get to in the story, the big set piece that they couldn't wait to show and it's not hard to see why. It's a huge event and one that has a massive impact for your audiences. In George R.R. Martin's books, he has several characters who are designated point-of-view characters who have chapters dedicated to their narratives. The main POV throughout the Robb Stark narrative belongs to Cat, which means that not only does Robb not hold that same emotional attachment, but his story is scene through a character who is definitely not a fan favourite. Nevertheless, the sheer brutality and unexpected nature of the Red Wedding made it a standout set piece that readers paradoxically both looked forward to and dreaded in equal measure. What struck me most about this season though is how well the writers have played both sides of the audience, those who knew what was going to happen and those who hadn't got a clue. 

For non-reader audiences, there was never a hint at what might lay in store for Robb should he go to the Twins. Instead, the focus was placed on him getting to Casterly Rock and taking that to provoke Tywin into battle. The Roose Bolton scene where he lets Jaime go was done on grounds of respectful treatment rather than giving away the knowledge that Bolton had already been turned to the Lannisters. However, things had been going a little too well for Robb; happily married with a child on the way, getting along with his mum again after her betrayal and just generally progressing forward. If that didn't start some alarm bells ringing, then y'all haven't been paying attention.

In contrast, for those who were aware of what was awaiting Robb and Cat at the Twins, this season has been unbelievably torturous because the showrunners kept planting little clues and hints. As mentioned previously, the scene between Roose Bolton and Jaime was perhaps the biggest example; you don't just let your prize hostage meander his way to King's Landing, however benevolent you may be feeling. From the moment the episode began, I felt a slow-burning sense of dread, a despairing anticipation that this was finally the moment in which I saw the chapter that so affected me realised on screen. What I couldn't prepare for was just how shocking that scene would still be.

One of the strongest aspects of the series, especially this recent season, is how they have made Robb a relatable character, primarily because we see much more of him and his relationships than we do in the books. Richard Madden's excellent performance has also helped, remaking Robb into another tragic hero in the same vein as his father Ned. The addition of Talisa (Oona Chaplin) instead of the rather wet Jayne Westerling from books, has also created an interesting and unexpected dynamic; she was the curveball that the readers didn't know what to do with because not only did we not know if she would survive, she was also pregnant.

In fact, it was her death that was the most jolting, the most horrific because of the pregnancy and the graphic way in which her stabbing was shown. Director David Nutter didn't flinch from holding the camera steady on her as she is murdered. Likewise, the rest of the scene was comprised of longer, steadier shots to depict the violence as clearly as possible. This was a massacre that none of us could escape from. I've already talked about Michelle Fairley's performance in my review of the whole episode, but she was really the emotion in the scene and the audience's link to it; we see her note the shift in tone as the band begins to play The Rains of Castamere, she realises that Bolton is not all that he seems. Out of all the characters, Fairley probably had the hardest job in winning the fans of the books over because Cat is universally reviled for being pretty stupid and for starting the whole war off in the first place. That Fairley goes on to inspire such sympathy and to affect us quite so much is a testament to the actor for almost redeeming Catelyn.

Despite knowing that all this was happening, I, like seemingly everyone else who watched the show, sat numb and in shock as the silent credits rolled. The reaction was almost instantaneous (check @RedWeddingTears for the more extreme responses) and I think there seemed to be a consensus amongst those who didn't know it was coming that this was the moment in which Game of Thrones went just that little bit too far.

But the Red Wedding had to happen in all its brutal, horrifying glory and not just because it is in the books, but because of the narrative impact it has; it's a grim reminder that Westeros is a dangerous, dishonourable place and was just the shock a complacent audience needed. After all, we haven't had any major deaths since the first season (in which, lest we forget, there were a lot) and the biggest upset so far was Jaime's hand getting chopped off. The anger that the Red Wedding has received has come as a bit of a surprise to me. Martin has been receiving death threats on Twitter, Benioff and Weiss have also received similar warnings about maiming and people are threatening to not only boycott the show, but cancel their HBO subscription.

Now, forgive me for pointing out the obvious, but Game of Thrones has never been a nice, relaxing family show; death has been a part of its landscape since it first arrived on our screens. This is the show that killed off the King a few episodes into the season, the supposed hero and lead character shortly afterwards. We've had melted gold-related deaths, a wife smothering her husband to free him from his catatonic state and plenty of other minor characters die along the way. To have it happen to characters that we have grown to love does make the Red Wedding all the more unsettling, but it is a logical narrative step and was entirely justifiable.

We needed the shake-up, we needed the reminder that not everything is going to work out all right for the good guys and it also reminds us that Benioff and Weiss are still entirely committed to telling this story properly. Without revealing too much, the Red Wedding has a huge impact on the landscape and characters in Westeros and, for all those decrying that its only the good guys that killed off, we're still only two and a half books into the series. There are plenty of good guys left, a fair few of whom will be driven to other things thanks to the Red Wedding. The bad guys, some of them at least, will get their comeuppance, but these categories aren't necessarily all that clear-cut and some, as Roose Bolton showed, don't necessarily ascribe to what we thought they would.

The Red Wedding will be the show's defining moment because it gives both the audience and the characters a reason to keep going and is a fine, though shocking, example of just how brutal this show and that world can be. There are still a lot of unanswered questions, narrative threads not yet tied up in either book or television and the Red Wedding acts as a catalyst for some of these and a dark background to others. If you're considering not watching the show anymore because the scene was too horrific, I urge you to think again. There are other characters you love, others you hate, but you will never find out what happens to them if you stop watching. 

- Becky

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TV REVIEW: Game of Thrones - The Rains of Castamere

How are we all dong then? Recovered yet? Able to talk about it with colleagues without yelling "WHYYYYYY?" And if you have no idea what I'm going on about, best avoid this particular post. It contains major spoilers.

Traditionally speaking, the ninth episode of Game of Thrones is a Big Event; in the first season we had unlucky Ned Stark (Sean Bean) beheaded by Joffrey in front of his children and the second season was the excellent Battle of the Blackwater. So what did the ninth episode of the third season have in store for us? The last few episodes have been slightly plodding, but The Rains of Castamere was the big pay-off, possibly more than anyone (especially those who haven't read the books) expected. I've been using the chess metaphor for a while throughout these reviews because that is exactly what this season has felt like, with David Benioff and D.B. Weiss positioning their players ready for this Big Event.

If the last few episodes have been largely about positioning the pieces, well The Rains of Castamere was the chess equivalent of a player having a tantrum, sending the board flying into the air with pieces scattering all over the place. It was the big shake-up that the show had needed and we've now got several characters in vastly different places to where they began the season. At the beginning of the episode, we have Dany (Emilia Clarke) ready to take the city of Yunkai, Jon (Kit Harington) over the Wall with the wildlings, Bran (Isaac Hempstead-Wright) not so far away getting ready to cross the Wall, Arya (Maisie Williams) is getting ever closer to be reuniting with her family and Robb (Richard Madden) is heading for the Twins for a wedding.

The episode predominantly narrowed its focus on the Stark family and was all the better for it, tightening the story and bringing the audience-favourite family heartbreakingly closer together than it has been since the first half of the first season. A pleasant and sorrowful surprise was the scene between Bran and Rickon (Art Parkinson) as their party split; Rickon to head to the Umbers, Stark bannermen, with Osha (Natalie Tena, giving another fantastic performance this week) and Bran to cross the wall with Hodor (Kristian Nairn), Jojen (Thomas Brodie-Sangster) and Meera (Ellie Kendrick). The farewell scene between the brothers was touching and sad as Parkinson especially brought forth an innocent emotional performance that inspired more sympathy for Rickon than I've felt before.

The scene was also heartbreaking in the group's proximity to Jon, attacking the same farm with the wildlings. Finally unable to betray the Stark mentality of honour and mercy, Jon reveals his true self to the wildlings and Ygritte (Rose Leslie) and is attacked by the group. His final parting comment to Orell (MacKenzie Crook) was wonderfully venomous and Harington played the scene well as did Leslie, every bit of Ygritte's sense of betrayal etched across her face as Jon rode away. It is also the closest that Jon has come to his brothers since he left for the Wall and it was great to see Bran (now in full possession of his warg abilities) do his bit to save Jon's life, taking over Summer and Shaggy Dog and seeing his brother yet unable to do anything else.

Elsewhere, we had Arya continuing her journey with the Hound (Rory McCann) to the Twins to be reunited with her mother Catelyn (Michelle Fairley) and her brother Robb. Again, the Stark sense of mercy and honour was on display when Arya prevented the Hound from killing an old man on the road who had seen them. Frequently, Williams is paired with much older actors and completely holds her own against them, leading to some wonderful scenes. Last season, it was with Charles Dance as Tywin, this season it has been with Paul Kaye's Thoros, Richard Dormer's Beric Dondarrion and now with the Hound. Williams has long been one of the best actors in the show and she demonstrated it again here; Arya is a little ball of fury tempered by fear, a fact that does not escape the Hound. Obviously, her worst fears are realised here as she gets to the Twins at exactly the wrong time, but I shall return to that shortly.

With this focus on the Stark family, the inclusion of Dany's storyline felt a little incongruous with the grime of the rest of the episode and it seemed as if it had been placed there out of necessity to wrap up that particular narrative as soon as possible. However, it did have one of the best choreographed fight scenes we have yet seen on the show as Jorah (Iain Glen), Daario (Ed Skrein) and Grey Worm (Jacob Anderson) infiltrated Yunkai and were set upon by a cohort of guards. Almost effortlessly, each man fought with a different fighting style, accurately conveying the different backgrounds and upbringings of the characters without going into expositionary detail. It was expertly done and a thrill to watch. I also enjoyed Dany's snub of Jorah in favour of the considerably more dashing Daario; one to watch that one.

And so we must turn to the other thread of the episode, the one that on first glance would not seem to herald the drama of the other narrative strands. After all, we've already the conquering of Yunkai and Jon versus the wildlings. What else could the show possibly offer us in the wedding of Edmure Tully (Tobias Menzies)? In short, death. And lots of it. For us book readers, this episode marked a relief, something I shall talk about more in a follow-up post, but for the people who had no idea  that the Red Wedding was going to happen, it must have been quite the scene. It was, quite simply, the most shocking moment in the show's history.

Returning to the chess metaphor, the Red Wedding was the moment in which the stalemate between Robb and Tywin was broken, not honourably in open play, but through a sleight of hand, turning allegiances without broadcasting it. Director David Nutter handled the moment, in all its carnage, beautifully as the band began to play The Rains of Castamere marking the shift in tone. The brutality of the scene was unlike anything we have yet witnessed in the show, particularly the vicious stabbing of Talisa (Oona Chaplin), designed to specifically target her unborn child.

However, it was the performances that made this scene all that it was and more. David Bradley has just made Walder Frey the most hated man in Westeros, possibly even outdoing Joffrey (Jack Gleeson) on this occasion. He was so wonderfully offhand about the whole thing that it just made you hate him even more. Richard Madden has been a strong actor throughout this series, conveying Robb's nobility and resolve, but also his helplessness in a war that he should have been winning. The expression on his face when he saw his wife murdered was chilling, the battle to get to her with his body shot through with arrows was admirable. His simple statement of 'Mother' was enough to reduce me to tears. 

And then there is Michelle Fairley at the centre of it with a performance so gut-wrenching I actually sobbed out loud after her wail. That wail. The desperate howl of a mother who has just lost everything. Fairley has, like many of the cast members, been a strong but quieter addition to the Game of Thrones cast, but here she shone, capturing the bleak torment and inevitability of Cat's situation in that one, heartbreaking wail. To have that followed by an entirely silent credit sequence was a master-stroke by Nutter. 

We were all too shocked to process anything else.

- Becky

You can read Becky's review of the previous episode, Second Sons, here.

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TV REVIEW: Game of Thrones - Second Sons

A delayed review this time to cope with the two week gap instigated by the American HBO network, Second Sons nevertheless starts to ramp up the action for the two final episodes of the season.

The last three episodes in the series have been largely more about character developments, slowing down the action to ensure we know where each piece of the considerable Game of Thrones chess board is at the current time. However, it also meant that the pace was a little off and whilst the quality of the drama cannot be disputed, it did feel as if it was time for the show to actually go somewhere. Thankfully, Second Sons upped the ante just that little bit and though it may not have been action-packed, there was enough progression to pull us all back in again.

There were three major threads running through this episode, devoting screentime to those in King's Landing, Dragonreach and Yunkai with each dealing with some fairly big developments. Dany (Emilia Clarke) is preparing for war with Yunkai and is attempting to build her army up with the addition of mercenaries calling themselves the Second Sons. Clarke has grown from strength to strength in her performance and I just loved her cool composure in the scene with the three captains, including Daario (Ed Skrein) who eventually joins with the Khaleesi. She had one of the big moments in the Dracarys scene earlier in the season and her takedown of Yunkai promises to be just as eventful.

Perhaps the sweetest scene that the show has seen for a long time was the one between Tyrion (Peter Dinklage) and Sansa (Sophie Turner) preparing for their ill-advised and obligatory wedding. The oddest couple around, both seem determined to make the best of their situation and Dinklage and Turner played the awkwardness of the situation beautifully. This was then contrasted with the wonderfully catty scene between Cersei (Lena Headey) and Margaery (Natalie Dormer), both of whom seem to typify all those 'mother-in-law' jokes that went out of fashion back in the 70s.

More of a ritual humiliation than a matrimonial ceremony, the wedding was an affair in which words were barely spoken, but there was enough subtext there to get the point across. And of course it gave us another chance to really hate Joffrey (Jack Gleeson). Has there ever been a television character so universally hated as Joffrey? He's not in the series a whole lot any more, but that just seems to intensify my dislike. It's a good job he was then contrasted with Drunk Tyrion, who may be my favourite version of Tyrion and I like the character a great deal. In the most awkward family wedding in the history of awkward family weddings, a depressed, drunk groom was exactly what was needed. But then, his scene with Sansa was so wonderfully tender and gentlemanly that it further emphasised how complex the Imp is. 

The other character I've found myself disliking with great intensity is Melisandre (Carise Van Houten) and like Joffrey's fleeting yet memorable appearance, she cropped up in this episode to remind us just how evil she is, taunting poor Gendry (Joe Dempsie) with some standard nudity before applying some leeches to places leeches shouldn't be applied to. The melding of Gendry (Joe Dempsie) with the book character of Edric Storm (non-book people, don't look him up - spoilers abound) has been an inspired choice that means Gendry gets just a little bit more to do. It's a good move for the series and increases my confidence in Benioff and Weiss; they may have made some big changes, but the television story is working as a cohesive whole. Not an easy thing to do when you're tackling something as big as A Song of Ice and Fire.

Despite opening with an encounter with a White Walker, this season has been relatively low on the undead, though of course the constant threat remains. Therefore, the final scene was a (un)welcome return for the pesky little blighters in a scene that served as a chilling reminder of the biggest scare north of the Wall. With the sweet Gilly (Hannah Murray) and Sam (John Bradley) opening the scene, it was left to some squawking ravens to set the tone. The scene was genuinely chilling whilst also allowing for Sam to finally have his hero moment. I love the developing relationship between Sam and Gilly and I'm hoping we'll get to see a bit more of them, if not in this season, then definitely in the next.

This episode was also notable for the characters it did not feature, presumably because we're setting up for some pretty big moments for the last couple of episodes. Certainly, Jon Snow (Kit Harington) and Ygritte (Rose Leslie) are closing in on Castle Black with the wildlings and the Starks are on their way to the Twins for a big wedding. I also missed my favourite odd couple Jaime (Nikolaj Coster-Waldau) and Brienne (Gwendolyn Christie) after their bearscapade last week, but they've probably had more screen time than any other combination this season so a break was perhaps needed.

The Rains of Castamere airs on Sunday/Monday (depending on which side of the pond you happen to be) and tension and anticipation is already high. The ninth episode of the season has been traditionally the biggest, darkest instalment and this one has a lot to live up to after the masterpiece that was Blackwater (where of course, The Rains of Castamere was first sung). Something tells me it might just match up.

- Becky

You can read Becky's review for the previous episode, The Bear and the Maiden Fair, here.

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TV REVIEW: Game of Thrones - The Bear and the Maiden Fair

Last week's episode saw plenty of pairings defined by power and status whilst this week's takes a look at the romantic (ish) relationships that dominate the characters' and affect their motivations. Once again, the episode's title bears more than a little on the ongoing narrative (pun intended) as we see various pairs of mismatched couples defined by their gruffness or their beauty. Another slow-burning episode, we darted to various locations and caught up with all of the usual suspects, the difference being that this time George R.R. Martin is on script duties this week with Breaking Bad's Michelle McLaren in the director's chair.

Again exhibiting the leisurely pace we've come to expect from the last couple of Game of Thrones episodes, it didn't necessarily do The Bear and the Maiden Fair any favours. In fact, of all the episodes of this series, it was this one that felt most like filler, closing the gaps and further establishing the narrative direction for the characters in the rest of the season. Certain scenes were excellently put together, particularly Dany (Emilia Clarke) and her dragons taking on the emissary from Yunkaii which not only showcased the special effects work with the flying menaces, but also Dany's evolution from shrinking violet to the Silver Queen.

Other highlights including the weekly Tywin Lannister (Charles Dance) dressing down of a member of his family and a development in the relationship between Robb Stark (Richard Madden) and Talisa (Oona Chaplin), almost singlehandedly filling this week's episode quota of naked bottoms (yes, we appear to be in a clothes off week once again). The ongoing relationship between Jon Snow (Kit Harington) and Ygritte (Rose Leslie) is perhaps afforded the most screen time. Their scenes together have steadily improved through the season and here, they have their funniest flirtatious conversations so far even as their relationship is undermined by their very different backgrounds. However, they were also punctuated by scenes that slowed the pace even further and served little purpose but to set up directions or remind us of issues gone by. Despite a stirling performance from Natalie Tena as Osha, the scene with Bran (Isaac Hempstead-Wright) deciding to go after the raven was one such example. It seemed included just to let us know where Bran was off to and remind us all of the threat of the White Walkers. Another example was the return of Theon (Alfie Allen), tortured once again and now possibly missing an appendage. This was also the scene in which we saw more nudity. Because just one scene isn't enough. It served little purpose really, other than to check in with Theon's terrible, yet deserved, situation.

One of the episode's strongest points though was the editing and the way we moved through Westeros. Pairings separated by other characters were sort of brought back together; Arya (Maisie Williams) and Gendry (Joe Dempsie) may have been torn apart from each other, but their scenes were connected, reminding us of their relationship whilst facing new challenges of their own. We also had pairings yet to be joined in matrimony; Sansa (Sophie Turner) mourns her impending marriage to Tyrion (Peter Dinklage) and in the very next scene, he does the same in turn with Bronn (a welcome return for Jerome Flynn). It's exemplary stuff and really works to provide a cohesive strand running through an episode which was marked by its internally episodic nature.

Then there were the final scenes which brought back the high quality and spark that seemed missing from a large part of the episode. I've spent a lot of these reviews going on about how much I love the pairing of Jaime (Nikolaj Coster-Waldau) and Brienne (Gwendolyn Christie) and this week does nothing but make me love them more. Jaime, ever the dashing knight, rides back to Harrenhal to rescue Brienne from a situation in a rather literal interpretation of the episode's title. It's a fantastic sequence that cements just how much they have come to rely on each other and has a killer final line from Jaime. Just brilliant.

A mixed bag then this week as we head into the final three episodes of the season. The chess pieces are surely all in place now so let's hope that the pace picks up and we get some moments of sheer shout-at-the-television awesome.

- Becky

You can read Becky's review of the previous episode, The Climb, here.

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TV REVIEW: Game of Thrones - The Climb

Less naked bottoms this week as Game of Thrones continues the slower pace to spend some time with a wide variety of characters, once again all finding themselves in impossible situations.

The Climb wasn't the strongest of episodes, especially compared to the previous few episodes, but it did its job of setting the scene for the last few instalments of the season. In fact, it often felt like a chess game in that sense, positioning the pieces in their respective places ready for everything to kick off. The central theme of the episode, the climb of both literal and figurative representations, was perfect for an hour which saw many characters find themselves placed into a new set of circumstances, either by design or by another's machinations. Those in control were few and far between, though by far the most powerful; think Roose Bolton (Michael McElhatton) and his control over Jaime (Nikolaj Coster-Waldau) or Tyrion (Peter Dinklage) and Cersei (Lena Headey) being forced into acknowledging that Tywin (Charles Dance) is in complete control. As a central theme, it was an excellent way of demonstrating the power shifts in Westeros, but sadly, some the individual scenes just didn't quite sparkle in the way that we're used too.

One such character who is currently at the behest of another is resident traitor Theon (Alfie Allen), a character I have continued to neglect in these reviews quite simply because he hasn't been getting up to a lot. And I've forgotten him. He still isn't getting up to very much, being tied to a cross, and the cathartic pleasure of watching someone so snivelly and spineless get tortured by people has waned somewhat since the series opener. Thankfully, Iwan Rheon's wide-eyed gleefully unhinged performance as the as-yet unnamed Boy (though people who have read this far into the books will have a clue) saved the scene from complete dullness. He was a saving grace in the middle of a scene that just seemed to be there to remind people like me that Theon exists.

Another victim of not-so-exciting-scenes recently has been Jon Snow (Kit Harrington) though of course last week, he did get to go all wet and wild for a bit with Ygritte (Rose Leslie). In contrast to Theon's linear progression, Jon's was directly vertical as he and the other wildlings prepared to make the ascent up the Wall, the literal climb of the episode's title. The quiet scene between Ygritte and Jon was nicely done by both actors, conveying the subtext of their relationship well without overplaying the moment. The climb itself was very well done, with Sarkharov employing some impressive, vertigo-inducing visuals to convey the danger and extremity of the situation. And we all know that MacKenzie Crook's Orell is probably going to find himself at the pointy end of Longclaw before the season is out.

There is one scene though that stood out amongst all of the others was that scene between Lady Olenna (Diana Rigg) and Tywin Lannister, a battle of wits and one-liners that typified a lot of what we love about Game of Thrones. Usually in these scenes, honesty is not something that's demonstrated; we get a similar moment later in the episode when Varys (Conleth Hill) and Littlefinger (Aiden Gillen) dance around each other, elegantly sidestepping each other. In contrast, watching Olenna go up against Tywin was like watching two battleaxes clashing violently, sparks flying, but neither one refusing to budge. With some cracking lines ("a sword swallower through and through") and some brilliant eyebrow acting from both parties, Olenna and Tywin was a match we'd been waiting for. Rigg has fast become the new fan favourite in her performance and quite right too; she's bloody good.

As noted in my little introductory sentence, there was a distinct lack of nudity in this week's episode, contrasting sharply with Kissed By Fire. There seems to have been a recurring pattern this season in which we get an episode absolutely full of naked bottoms, bare breasts and the occasional male appendage followed by one in which there is nary a piece of flesh in sight. The nudity is an aspect of the show I have never overtly criticised as it has never been something I took great issue with, despite the naked male to female ratio being vastly disproportionate. However, it seems to be an odd pattern this series, perhaps designed to appease both sides of the audience, those who desire naked bottoms and those who can do without. Either way, Game of Thrones doesn't need to rely on this nudity quota to get itself through; it's a fantastic drama with or without the odd bare breast.

The Climb was lacking a little something this week for me, despite being built on an excellent theme and individual scenes shining. Sadly, it never came together to form a cohesive whole but let's face it, even a bad day for Game of Thrones is far above a fair amount of things on the television.

- Becky

You can read Becky's review for the previous episode, Kissed By Fire here.

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