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 - 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 - Two Swords

After what feels like an interminable wait, Game of Thrones returns for its fourth season, promising the usual brand of sex, political wrangling and violence.

When a new season of Game of Thrones arrives, the first episode always has the most difficult job of the ten instalments, re-acquainting everyone with how Westeros lies after the events of its previous season. After the monumental events of the last season, Two Swords appears to have had the toughest job of the season openers so far with the status quo disrupted like never before. It is a testament to DB Weiss and David Benioff that it succeeds brilliantly, once again immersing us in the world and feeling for all the world like it had never been away. Using the tried and tested method of moving across the map and zooming in on the main players' activities, Two Swords gets the audience swiftly up to speed and hints towards the big events for the upcoming season.

The first episode opens with the re-forging of Ned Stark's sword, Ice, overseen by Tywin Lannister (Charles Dance) in a slow-burning (pun intended) metaphor for the climactic events of last season, which saw him cut down the final threatening members of the Stark clan. With Tywin looming out of the shadows, Game of Thrones quickly reminds the audience that the landscape of Westeros has changed hugely again. Gone are the Starks and therefore the last great threat to Joffrey's power and through underhand tactics; the honour that the family prided themselves on has always been their downfall and now, the Lannisters have sent a clear message that trying to attack them with honour is never going to work. Sleights of hand, betrayal and tricks are the way forward.

Speaking of which, we're swiftly introduced to a new political player, one who appears to understand the Lannisters more than most. Dornish prince, Oberyn Martell (Pedro Pascal), also known as the Red Viper, is in town with his paramour Ellaria Sand (Indira Varma) at the King's invitation for the upcoming nuptials. In this scene, Game of Thrones gives us an info-dump of great proportions The Martells' chequered past with the Lannisters has only previously been mentioned in passing when Myrcella Baratheon was married off to a Dornish prince. However, it's in these scenes that the writers really excel, granting us exposition through clever dialogue and thinly veiled political antagonism. We're soon up to speed on the nature of the tension between the Dornish and the Lannisters, as well as the nature of the Red Viper himself, without feeling subjected to endless exposition. Newcomers Pascal and Varma feel like they've been with us the entire time, so easily do they slip into the series' cast, and I'm especially impressed with Pascal, who fills the Red Viper with a calm and quiet rage, threatening to spill out at any second.

North, on the Wall, Jon Snow (Kit Harington) must deal with the fallout from his undercover mission with the wildlings, a mission so secret only Quorin Halfhand knew of it before he did. Jon Snow, like Ned Stark, has always been a bit of a one-note, if fascinating, character, bound by honour. He got interesting last season because he is forced into breaking his oath, engaging in a little duplicity and learning a few other things besides. In his one scene here, we're reminded of that conflict and the guilt that has resulted from both his espionage and his relationship with Ygritte (Rose Leslie). Harington shines in Jon's hearing scene, bringing out the Stark belligerence as well as the taunting wit that is a part of his character in the books and this bodes well for the rest of this season as Jon finds himself battling his former companions.

Whilst the entire episode is strong, there are two scenes in which Two Swords really hits its stride for two very different reasons, reflecting with ease the varying scale of the series. First of all, there is a focus in on Dany (Emilia Clarke) now travelling towards Mereen with her army and three growing dragons. Glimpses of the dragons are always at suitably important moments; here they are used to demonstrate Dany's growing power, as well as the instability of her situation. They are tempestuous and violent, scrapping with each other over a dead sheep which hits the ground unceremoniously at Dany's feet. It's an impressively technical scene with the special effects work on the dragons looking superb with swooping crane shots to highlight their growing strength. Alongside this, we also get wide shots of Dany's vast army and the treacherous ground they are covering. It's the biggest scale we see in the entire episode and acts as a reminder that the insular, often petty squabbling of Westeros is threatened by something far greater.

However, the other exemplar scene is one such petty squabble, a close-quarters, high stakes spat between the Hound (Rory McCann), Arya (Maisie Williams) and a group of bandits masquerading as the King's Men. The group includes Polliver, he who killed Lommy and stole Arya's sword Needle. It's an excellent example of a slow build of tension, as the Hound slowly gears himself up to fighting the assembled troupe. And then there is Arya. I spend a lot of these reviews heaping praise on Maisie Williams, but she is once again excellent here in a key scene for Arya's development. In a beautifully shot sequence, Arya strikes a water dancer pose and cuts Polliver down, striking the first name from her list herself. She slowly and deliberately kills him with Needle, repeating the words he himself had said prior to killing Lommy. The final shot of her standing over him, silhouetted in the light, was the perfect capture of her character and the dark acts towards which she has been driven.

A rousing opening then for Game of Thrones and plenty of hints towards what is promised to be an action-packed season. It has got steadily stronger as the seasons have gone on and if this instalment is anything to go by, we're in for more greatness.

- Becky

You can read Becky's review of Season 3's final episode, Mhysa, 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 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 - And Now His Watch Is Ended

Anyone expecting or desiring a nice quiet episode after last week's shocking ending might not have got what they wanted, but for those of us who eagerly await the next big gasp moments, And Now His Watch Is Ended did not disappoint.

Focusing in on fewer settings than the three previous episodes, And Now His Watch Is Ended hones in on the events occurring in King's Landing as the city prepares for the wedding of Joffrey (Jack Gleeson) and Margaery (Natalie Dormer). It's the turn of remaining female Lannister, Cersei (Lena Headey), to get a dressing down from the patriarch Tywin (Charles Dance) whilst plans are made by several different parties to aid Sansa (Sophie Turner) in her departure from the capital. Dormer's performance as the incumbent Queen is masterful, as is the character's manipulation of Joffrey, but it is Diana Rigg who is stealing all the scenes is the Queen of Thorns and getting all the best lines too. Her scene with Varys is yet another one of those quieter moments in which much is said of importance and not a line is wasted in conveying the wider machinations of both characters.

Elsewhere in Westeros, Jaime (Nikolaj Coster-Waldau) is mourning the loss of his favourite appendage (no, not that one) whilst Brienne (Gwendolyn Christie) does her best to keep him alive. Although we only see them briefly this week, Jaime's development, and with it Coster-Waldau's performance, is one of the most impressive character-driven aspects of the show, aided by superb support from Christie. Their fireside conversation is one of the quieter highlights in which the oddest couple in Westeros realise their survival depends on a mutual respect for each other. Arya (Maisie Williams) and Gendry (Joe Dempsie) find themselves in the secret hideout of the Brotherhood Without Banners, meeting the most impressively-named individual in the Seven Kingdoms, their leader, Beric Dondarrion (Richard Dormer). Although it was again only a small scene, Williams continues to impress and we're set up for a showdown between Dondarrion and the Hound next week.

But perhaps the most important lesson that I have learnt from this episode is that I really need to stop doubting Benioff and Weiss quite so much. Now don't get me wrong, I have a large amount of faith in them for delivering just over two seasons of sheer, unadulterated awesomeness, but we are fast approaching some of my favourite scenes in the entirety of A Song of Ice and Fire and like any self-respecting fan girl/boy, I'm a little protective of them. I know I shouldn't be, but it is the nature of the beast when you have devoured a novel series of such magnitude and quality. I've got them all up there in my head; a little show reel of all the bits I've loved and imagined in glorious internal technicolor. One such scene was featured at the end of this episode. You know the one I mean. The one where Dany got to be badass for the first time since the end of Season One, where the Unsullied were efficiently bloodthirsty, the one with the DRAGON.

What director Alex Graves and the Benioff-Weiss writing team delivered was actually just as good as the scene that played in my head as I read that particular chapter, if not better. Emilia Clarke has always been brilliant as Dany, but the big reveal of her native tongue as well as her plans for the sizzling demise of the horrific slave owner was so well done. Despite knowing that the scene was on its way (let's face it, you would have to have been dozing to miss the subtext in 'giving them a dragon' last week), the build-up was perfectly paced and the action expertly handled. The special effects for the dragons did not disappoint either and though we only saw all three together briefly, I can't wait until the trio are given more to do. And then there was the music; a soaring, choral march that added so much to the chill factor of the scene. Oh it was just so good.

So in conclusion, I am from henceforth going to have much more faith in messrs Benioff and Weiss, because if my book-based predictions are correct for what the rest of the season features, we haven't seen anything yet. 

And I've forgotten to mention Theon again...

- Becky

You can read Becky's review of the previous episode, Walk of Punishment here.

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You know you want to...

TV REVIEW: Game of Thrones - Walk of Punishment

After the previous two scene-setting episodes, Game of Thrones needed to start upping the ante for Season 3 so did David Benioff's first directorial effort succeed? Did it ever.

Please don't read this review if you haven't seen Walk of Punishment yet, as it will spoil the episode for you in a rather major way.

Walk of Punishment saw several of the show's major players take a massive step forward in their respective narrative arcs, whilst making time for some well-pitched comedy and the first major shock of the season. It was the best instalment so far of Season Three and a good sign that the focus on scene-setting in the first two episodes will lead to some excellent pay-offs later. Of course, one of which awaited at the end of this episode, but more on that later.

What really impressed me with this episode was how well some scenes were performed without dialogue to great effect. Lannister Musical Chairs has to be one of the best representations of the political manoeuvrings of the family, as well as one of the funniest scenes the show has produced to date and with barely a word spoken. Then again, once the Lannisters enter into conversation, it isn't long before the barbed words start flowing. The first meeting of the Small Council finds Littlefinger (Aiden Gillen) with the title of Lord of Harrenhal and with a mission to win over and marry Lysa Aryn (Cat's sister, breastfeeder of ten year olds and Season One all round mental if you're struggling to place her). With that, the position of Master of the Coin is soon handed over to an unimpressed Tyrion (Peter Dinklage) who reasons that 'a lifetime of outrageous wealth hasn't taught me much about managing it'. Then again, as Cersei (Lena Headey) points out in rather blatant subtext, Tyrion is just being set up for a fall.

In another dialogue-lacking scene, but on a more blackly comic level, our first outing to Riverrun (making its debut in the credits map too) introduced us to Cat's family, most notably Brynden (Clive Russell), also known as the Blackfish, and her brother Edmure (Tobias Menzies) who looks like he's going to be every bit as bumbling and useless as he is in the books. The scene in which he fails repeatedly to set his father's funeral boat alight was both intensely awkward, yet very funny. The Lannister scene may have affirmed their family dynamics, but those of House Tully were instantly put in place in preparation for Robb's best scene yet.

One of the standouts of the various dialogue-driven scenes, Robb's dressing down of his uncle was well-written, giving both Robb (Richard Madden) and Edmure a chance to take centre stage for a bit. Robb has largely been confined to looking perturbed and glaring at his mother so it was refreshing to see him engage with other characters and remind us all why he has become the King in the North. Menzies made a good impression in his first appearance as Edmure, but it was Madden who stole the scene, presenting a worn-out leader who is winning all the battles, yet not gaining any ground, both militaristic and familial.

Further away from Westeros, we also had some developments for Jon (Kit Harington) beyond the Wall, as well as his former brothers' who have made their way back to Craster (Robert Pugh), much to the disappointment of Sam (John Bradley). Jon Snow's character arc is a favourite of mine from the books, but I've not felt that this season hasn't done it justice so far. Whilst the horse spiral was suitably icky, there hasn't been a lot of the internal conflict that characterises Jon's journey, partly due to Harington's slightly lacklustre performance, but also due to the writing. Much of this conflict comes from his relationships with Mance Rayder (Ciaren Hinds) and Ygritte (Rose Leslie), but neither of them have been developed that well just yet. Obviously this could all be still to come, yet there seems to be a drop in tension once we hit the snowy plains of beyond the wall. Let's hope the attack on Castle Black will go some way to address this.

By contrast, Dany (Emilia Clarke) is already way ahead of her book counterpart in terms of level of interest as the scene in Astapor was brilliantly handled. Clarke has always been exceptional in the role, even during Season 2 when she was given practically nothing to do but moan about her missing dragons, and she excelled again here. Like Robb's scene, this one reminded us all of why Dany has the potential to go all the way to the Iron Throne and she also had her very own Eowyn-type moment; 'yes, all men must die. But we are not men'. The conflict for her affections between Ser Jorah (Iain Glen) and newly-arrived Ser Barristan (Ian McElhinney) is playing out nicely in the background but both of them were united when she decided to trade 8000 Unsullied warriors for one of her dragons. Considering how protective she was over them last season, it's clear that giving them a dragon doesn't exactly carry the definition that the slave trader expects.

And finally, we get to that scene. The biggest, boldest and shout-at-the-television worthy scene in the season to date, Jaime Lannister (Nikolaj Coster-Waldau) found out what happened when you try to play the 'daddy's got loads of money' card one too many times. Preceded by a rather hilarious scene between Pod, Bronn (Jerome Flynn) and Tyrion, the final sequence of events began in much the same way, with Brienne (Gwendolyn Christie) and Jaime bickering whilst tied together on the back of a horse. Their adversarial relationship is a joy to watch and the humour and levity of the situation made what followed all the more harrowing. Brienne is taken off by their captors to be raped but Jaime, in rare moment of thinking about someone else, concocts a story and manages to save her from being 'besmirched'. An intriguing development, it served to demonstrate that, despite his bravado, Jaime clearly respects Brienne and their relationship is now becoming more than just prisoner and guard; he needs her to survive.

Of course, with the horrific screams from Brienne in the background and the foreshadowing of rape, you could be forgiven for not expecting what came next. After Jaime successfully negotiates her release, he manages to talk his way out of his chains and into a hot meal. Alas, that's not exactly what Locke (Noah Taylor) had in mind as the episode closes with Jaime's right hand, crucially his sword hand, chopped off. Coster-Waldau has been the perfect Jaime, capturing the bravado and arrogance that the Kingslayer is famous for, and I have every faith that his performance will continue to impress now that he has to play a Jaime who has just lost his defining feature. It was also a brilliantly shocking way to end the episode and remind audiences of just how twisted, violent and unexpected Game of Thrones can be.

As a fan of the books, one of the aspects that I thought would be lost in the transition from page to screen would be the songs that crop up so often throughout A Song of Ice and Fire. As this rather good Den of Geek article points out, the songs are an essential part of Westeros, a way in which the world feels more real because of its history and identity as a nation. Thankfully, Benioff and Weiss have also seen the importance of this, because they have ensured the songs remain and have used them to great effect. This episode saw a rather brilliant use of The Hold Steady's version of The Bear and the Maiden Fair as a jolting end credits song after the hand incident and whilst not quite up there with The Rains of Castamere from Season 2's Blackwater, it made quite the impact. 

Easily the best of a good bunch so far, I cannot tell you how hyped this episode has got me for the rest of the series. It was also so action-packed I have completely forgotten to mention Theon (Alfie Allen) until now, but I liked his chase scene and I'm looking forward to seeing what happens to the treacherous git. The week-long gap in between instalments is already starting to become painful and I think it's going to be torturous once we get past halfway...

- Becky

You can read Becky's review of the previous episode Dark Wings, Dark Words here.

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TV REVIEW: Game of Thrones - Dark Wings, Dark Words

In a very brief summary, here's what Dark Wings, Dark Words had to offer. King's Landing continues its preparations for the wedding of Joffrey (Jack Gleeson) and Margaery Tyrell (Natalie Dormer) whilst Tyrion (Peter Dinklage) promises to assist Shae (Sibel Kekilli) in protecting Sansa (Sophie Turner). Further from the capital, Brienne of Tarth (Gwendolyn Christie) and Jaime Lannister (Nikolai Coster-Waldau) continue to make their way south whilst trying to avoid people killing them and them killing each other.

Arya (Maisie Williams), Hot Pie (Ben Hawkey) and Gendry (Joe Dempsie) decide to head to Riverrun but are stopped by the Brotherhood Without Banners and run into someone who may know who Arya is. Robb (Richard Madden) and Cat (Michelle Fairley) learn of the fate of Winterfell, not knowing that Bran (Isaac Hempstead-Wright) and Rickon (Art Parkinson) are alive and heading to the Wall.

Whilst last week was an episode of reminders, Dark Wings, Dark Words was an episode of introductions, bringing us a host of new characters to get to know. Once again, the casting of the show is impeccable as Thomas Brodie-Sangster's Jojen Reed and Paul Kaye's Thoros of Myr demonstrate. Although we only caught a brief glimpse of him, MacKenzie Crook had the important task of introducing the warg to us so that Bran and Jojen could follow. But of all the new characters, there is one who I have been looking forward to more than most; Diana Rigg as Lady Olenna, Queen of Thorns. Fearsome, forthright and not afraid of anything, she could easily slip into the Dame Maggie 'speak your mind and a dozen one liners' characterisation, but somehow, I think Rigg is going to keep a dangerous edge about her which the Dowager Countess just doesn't have.

Another slower-paced episode, this one seemed to be based around the idea of co-operation and forging new partnerships. 'Dark wings, dark words' is a common warning uttered by the arrival of a raven and so to it proves this week as not only does Cat discover the death of her father, but also the probable death of sons Bran and Rickon, leading to a revelatory conversation with Talisa (Oona Chaplin). The show and Fairley's performance have gone some way to humanise Cat more, who is a fairly reviled figure in the books for, as she observes, pretty much causing everything to go completely wrong for just about everyone. Here though, her anecdote about baby Jon Snow goes some way to allowing the audience to understand her motivations, even if you don't agree with them.

Speaking of reviled characters, Joffrey was in fine obnoxious reform once again this week and it turns out, if you thought he was bad beating women, he's just as horrific when it comes to wooing them. However, Sansa only knew how to play the victim whilst Margaery is a consummate politician. With what was quite possibly the most symbolic, innuendo-riddled crossbow since the weapon was invented, she managed to tap into Joffrey's need to kill and use it to win him over. It was a fantastically creepy scene, a combination of sexuality and death that was never comfortable. Give her her due, Margaery certainly knows how to play the game and seemingly has Joffrey under her control. No mean feat by any stretch of the imagination. 

In another winning combination, we also got to see more of Brienne and Jaime this week, culminating in a confrontation that many a fan has been looking forward to. The fight on the bridge and its build-up was great for showing just how well-matched the pair are, both in terms of their wit and their fighting abilities. Jaime is rarely beaten, but for him to be beaten by a woman is going to be something to deal with. The two actors have a good chemistry, selling the bickering between the two of them and allowing Coster-Waldau to get some of the episode's best lines at Renly Baratheon's expense. I'm hoping we see a good deal of the odd couple this season.

Some audience members may not enjoy the slower pace and emphasis on conversation over action, but I think the show's writers are doing exactly the right thing. There's a great deal to get through this season and without affording it the proper set-up, the action becomes meaningless; the audience would not care about characters they hadn't been introduced to properly. Besides, when you have conversations as electric and suspenseful as the ones between Thoros and Arya, or Olenna and Sansa, you don't need too much action, just some cracking one-liners.

- Becky

You can read Becky's review of the first episode, Valar Dohaeris here.

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