"The Children" Play the GAME OF THRONES, Too

Article first published as TV Review: 'Game of Thrones' - 'The Children' at Blogcritics.

Last night’s season four finale of HBO’s Game of Thrones, titled “The Children,” is very character-heavy. Each of the many players in the cast get to show depth and growth from time to time, but the latest installment seems to be all about that, crystallizing characteristics we’ve seen within their personalities before and taking them to the next level. There is still action, of course, but the pathos are very strong, making for an excellent end, and leaving us to ponder the direction some of the people are heading in.

To many Game of Thrones viewers, the most important face in the series is Tyrion Lannister (Peter Dinklage). Sentenced to die, things look dire for the imp until Tyrion’s brother, Jaime (Nikolaj Coster-Waldau), sets him free. These two siblings have a loving bond, evident in their brief goodbye hug that transcends blood. They come from a very messed up family, with a sister, Cersei (Lena Headey), who hates one of them, and sleeps with the other to manipulate him. Yet, the boys’ connection is pure and loyal. Jaime cannot sit by and watch Tyrion executed, and so he intervenes.

From here, many expect Tyrion to take the easy path, knocking on Varys’ (Conleth Hill) door and sailing away. But this Tyrion has been betrayed and has turned cold. Before the trial, in which he watches his love, Shae (Sibel Kekilli), betray him and his father, Tywin (Charles Dance), let his innocent son be sentenced to death, Tyrion could have walked away. But at this point, he is just too far wronged, frustrated with injustice, and cannot stop himself from a final showdown with daddy.

What follows is tragic. I don’t think Tyrion means to kill Shae, even after her words at court, but he has to in self-defense, she being convinced Tyrion is evil enough to hurt her. And who can blame her, after the way Tyrion speaks to her when last together, Shae not realizing Tyrion acts like he doesn’t love her for her own good? Tywin’s death at Tyrion’s hands is much more deserved, Tyrion finally proving to his father that he’s a man, standing up for himself against the cruel tyrant that raised him.

It’s interesting to observe Tywin in his final days on Game of Thrones. Not only does he underestimate Tyrion, not expecting his son will kill him no matter what he’s done, but he also is shown to be living in denial about Jaime and Cersei’s incestuous relationship and its products. This is a man that has a single-minded vision for his family. He is cunning and savvy in battle, but lacks warmth with his offspring, which leads to him not understanding them. This is Tywin’s downfall, his hubris and ignorance of his children. He reaps what he has sewn.

As one leader falls, another rises. Jon Snow (Kit Harington) meets with Mance Raydar (Ciarán Hinds), intending to kill the Wildling leader, until they are interrupted by Stannis (Stephen Dillane) and his army, who essentially save The Wall. Before and after this interruption, though, we see just how seasoned Jon has become. He has the wisdom that men will follow, and shows mercy when it is warranted. He understands loyalty, and exhibits such on his own. He’s willing to sacrifice himself for the greater good. He has grown into a man to respect and obey.


He also still has his heart. Jon’s conversation with Tormund (Kristofer Hivju) about Ygritte (Rose Leslie) is moving, as is Jon’s subsequent burning of Ygritte north of the wall. Jon has to put aside romantic notions because of his vow so closing this chapter is a necessary step for him. Yet, seeing how he handles said closing tells us a lot about Jon, too, making him worthy of the admiration being cast his way.

Is Jon now in charge of the Night’s Watch? We don’t see the acting lord commander, last seen injured and being pulled away from the battle, this week. Whether the men have fallen in line behind Jon or not, Mance and Stannis are dealing with Jon as if he speaks for the group, and his behavior and presence support that role. Will Jon’s brothers take this as a sign to fall in line behind him, or will Jon find assuming the mantle of command a lot harder than it’s been for him so far?

Daenerys (Emilia Clarke), who usually seems a natural queen in this Game of Thrones, is having much trouble ruling a city. Her dragons are killing children, forcing her to lock up the two she can find in a dark dungeon. The former slaves want to go back to being slaves, their lives worse as freed men. She has cast out her top adviser. This leaves the poor girl crying and lost. This is not the powerful woman the past few seasons have ended with, triumphant in victory. Tasked with day-to-day management, Daenerys is coming up short, presumably an element to explore more in depth next year.

What about Bran (Isaac Hempstead Wright)? Will he be a leader, too? He fulfills his vision quest and finds the three-eyed crow, deep underground, beneath the giant Weirdwood tree. There is a looming sense of destiny here, and after seeing how Bran can warg into Hodor (Kristian Nairn) and use him in a fight, there’s also a sense of power behind Bran now. It’s uncertain what Bran will be doing at this strange place, but he certainly seems poised to be someone important, and is finally ready to assume that mantle.

In a scene that never happens in the Game of Thrones books, Brienne (Gwendoline Christie) finds Arya (Maisie Williams) and two swordswomen bond over their weapons. It’s a touching scene for the girls, so much alike, and one I’m glad they include here. Arya is given a glimpse that will reinforce her belief that she doesn’t have to adhere to traditional gender roles, and Brienne sees a kindred spirit that should make her feel less of a freak.

Of course, The Hound (Rory McCann) interferes. Seeing Lannister gold on Brienne’s hilt, he justly assumes, even if he’s wrong, that Brienne means Arya harm. Whether The Hound is a protector or not has always been up for debate, many believing he sticks with Arya just for the reward money. But “The Children” shows us something different, a side of The Hound that leans toward nobility. The Hound hates himself, as we’ve seen before. Perhaps he thinks that taking care of Arya will buy him a bit of redemption?

Arya repays this loyalty with dispassion. Seeing The Hound injured and slowly, painfully dying, she takes his money and walks away from him. She has good reason to, always remembering the monster he was. However, this is ignoring what he has done for her in the meantime. It means Arya is stone cold, which will serve her well on her own and in Braavos, which she is last seen sailing towards, but it doesn’t bode well for her heart. This Arya has become someone who will have trouble caring for anyone, and that is troubling, even if it makes her more likely to survive.

I do feel sorry for Brienne, coming so close to (half) her goal, who then eludes her after delivering some biting semi-truths about Brienne’s short-comings. This will be a major setback for the female knight, and she will definitely be wracked with guilt and regret over it. Brienne deserves better. She is true and strives to keep her promises, a good person. Arya just isn’t ready to trust anyone else, especially not someone connected to the Lannisters, and so Brienne must continue to search out Arya again, as well as her sister.

It’s impressive that Game of Thrones finds the time for so many compelling character stories in its final hour of the season. This is a show that is big on action, epic battles and tragic deaths, but it’s also very much about the people that populate its world. Without such rich personalities, I can’t imagine that the show would be half as successful and popular as it is, transcending its genre. “The Children” illustrates beautifully some of the best features of the show, and certainly leaves one excited for next season, this one passing by far too quickly.

It’s also worth mentioning, at least in passing, that this season has really departed from the books in a lot of ways, not just the scene mentioned above. A major character that many readers expected in the finale is totally absent, and a death occurs on screen this week that did not happen in the pages. While major arcs are continuing to follow the book, I doubt the TV series wants to add the many new characters that crop up at this point, with sidelines in different parts of the world, and so it seems like we do need to finally let the books go once and for all and just embrace the show, seeing them as two separate bodies of work.

Game of Thrones has been renewed for two more seasons and will return to HBO in 2015.

GAME OF THRONES "Mhysa" of All Fantasy Series

Article first published as GAME OF THRONES "Mhysa" of All Fantasy Series on TheTVKing.

HBO's Game of Thrones' season three finale, "Myhsa," which means Mother, is a very busy installment, with way too many characters to fully and comprehensively cover in one review. Unless that review is several thousand words long, and who has time to read or write that? It's also hard to pinpoint what sets one episode apart from another, since events happen in sweeping arcs that unfold over years, not weeks. So, instead, here are some of the highlights of the most recent fantastic episode, which realigns some loyalties and sets the show up for another stellar run next year.

The scene where the Small Council meets at King's Landing is my favorite scene in the hour, hands down. It starts with King Joffrey Lannister (Jack Gleeson) jumping for joy with the news that Robb and Catelyn Stark have been killed, a plot twist that inexplicably has fans of the series unjustifiably turning against Game of Thrones, but I digress. Joffrey plans on doing something unspeakably cruel to celebrate, and Tyrion (Peter Dinklage), disgusted, puts Joffrey in his place.

It seems very dangerous for Tyrion to stand up to Joffrey, but because he only does it in this intimate setting, not publicly, Tyrion may be OK. Joffrey is a spoiled brat who is vengeful, and may seek to make Tyrion pay for his words. However, Joffrey doesn't dare challenge his grandfather, Tywin (Charles Dance) for authority, not yet anyway, and when Tywin seems to share Tyrion's views, Joffrey is figuratively spanked and sent to bed early.

Tywin remarks that those who must declare "I am king" are not really king, and that the crown does not necessarily equal power. He is completely correct, watching the way Joffrey is subdued. Joffrey whines and acts like a child, but he does obey Tywin in the end. Tywin is definitely the one with the real power in the realm, and until Joffrey decides not to put up with it any more and makes a real play for control, it will remain that way.

This interaction between these three would be fine enough, but "Mhysa" goes a step further and stays in the room with Tyrion and Tywin after the rest of the council has dispersed. Here, we see Tyrion talk back to his father, only to be stunned into silence when Tywin admits something that is sort of a secret about the personal "sacrifice" he made by allowing Tyrion to live and raising him. It's a painful, raw moment, and as bad as one feels for Tyrion, one also sees that Tywin is completely serious in his own right. Amazing performances by both deliver this as an exchange not soon forgotten.

Also worth mentioning is the sequence of Tyrion and Sansa (Sophie Turner) strolling through the garden, plotting pranks on those who deserve it. They still don't feel like a natural, loving couple, but this does show the girl softening towards Tyrion, who will treat her right and try to make her happy. One day, it might even make sense for the two to be together, and if it does, the seeds are planted here. If any two characters in Game of Thrones deserve happiness, it is this pair.

Unfortunately, that tranquility is threatened by Shae (Sibel Kekilli), who dismisses Varys' (Conleth Hill) attempt to send her away a wealthy woman, declaring that Tyrion himself must ask her to leave. It doesn't seem like Shae will physically harm Sansa, pledging her love for the girl, but Shae's continued presence is detrimental enough. Her dark wishes for revenge, while understandable, could cause some serious conflict within the royal family.

With the Starks dispatched, the Lannisters have an undisputed hold on the Seven Kingdoms. Or do they? Daenerys (Emilia Clarke) is taking her time assembling her forces, but watching the city of people worship and fall at her feet shows just how effective she is at gaining the loyalty of her followers. Joffrey's throne is safe for now, with his other competitors dead or severely weakened, but when Daenerys comes for him, it will be an epic battle, indeed.

Stannis (Stephen Dillane) still thinks he is a threat against Joffrey, but after Davos (Liam Cunningham) sets Gendry (Joe Dempsie) free, Stannis' plans for a conquering by magic are scrapped. Yet, Davos is spared when he brings to light the danger coming from the north, and Melisandre (Carice van Houten) actually agrees that Davos is needed.

This is a very interesting turn of events. Stannis has barely kept Melisandre and Davos at bay with each other for two seasons, both wishing the other would go away, even if it means killing. Yet, here it's Melisandre and Davos who unite, which takes Stannis aback as much as the audience surely is. Yes, we know the White Walkers from beyond the wall are deadly, but seeing how seriously this contingent takes the invasion, alliance made between deadly enemies, really strikes home how much the people fear them. Scary!

Stannis and company are in no position to really mount a defense, though, so it's a good thing Bran (Isaac Hempstead-Wright) has a plan. We don't know what it is, but Bran and his group are now heading past the wall. Because of the mystique surrounding Bran's abilities and talents, there's a feeling that the crippled boy may actually be the only hope of the realm, and that he might succeed.

I really enjoy seeing Bran encounter Samwell (John Bradley). There are so many different threads running through Game of Thrones, with so many characters that major ones have to sit out for weeks at a time. For a chance encounter like this, especially between two friendlies that we like, and because there never seems to be a time the two might meet otherwise, is thrilling. Hopefully, as the show goes on, there will be more time for this type of meeting.

Of course, not every convergence is welcome. Yara Greyjoy (Gemma Whelan) is on her way to rescue her brother, Theon (Alfie Allen), from the hands of the perverted Ramsay Snow (Iwan Rheon). It seems odd to hope for Theon's safe delivery from anyone, given how detestable Theon's actions are in season two. However, no one deserves what Ramsay has put Theon through, and it is definitely time for Ramsay to go down.

The problem with this is that Ramsay is the bastard son of Roose Bolton (Michael McElhatton), the new Warden of the North. That means Yara's slaying of Ramsay could start a civil war between the Iron Islands and the North. Were a more competent, focused king than Joffrey ruling the realm, perhaps serious conflict could be identified and prevented. As it stands, Yara's mission is a recipe for disaster at a time when, given the grave threats from outside the borders, the Seven Kingdoms need to stand united.

Other noteworthy bits from "Myhsa": Jon Snow (Kit Harrington) learns how much love hurts when a scorned Ygritte (Rose Leslie) ignores reason and shoots three arrows into his back. At least Jon lives to make it back to Castle Black, where he can heal. Arya (Maisie Williams) viciously stabs those who contributed to her brother's downfall, proving how deadly she can be. And Jaime (Nikolaj Coster-Waldau) makes it to King's Landing, though it has not yet been revealed if Cersei (Lena Headey) can see past his new deformity, or how Jaime's relationship with Brienne (Gwendoline Christie) will be affected by having Jaime's sister / lover back in the picture.

As you can see, there is a lot going on. However, Game of Thrones has deftly balanced each of the various stories so far, creating characters that can be kept track of because of how developed they all are, and the threads come together enough to make it seem cohesive. Obviously, a lot more will happen before the end, and eventually the cast will slim. But for now, "Myhsa" is yet another excellent chapter in a very long, very complex tale.

Game of Thrones will return for a fourth season in 2014 on HBO.

Unpaused Game of Thrones

Article first published as GAME OF THRONES Review Season 1 Episode 1 Valar Dohaeris on Seat42F.

Grade: 96%

There are many fans of HBO’s GAME OF THRONES out there, eagerly awaiting the start of the series’ third season this weekend. Having viewed the premiere, “Valar Dohaeris, I can report that it is back in the fine form we are accustomed to seeing, and those holding their breaths can finally let them out. Without spoiling anything important, here are my thoughts on the latest installment.

“Valar Dohaeris” is very accessible. I really wanted to refresh my memory with a reviewing of season two’s finale, remembering how dense season one was, and having re-watched the entire first season to prepare for the second, but didn’t have time. However, this episode, without quite recapping, doesn’t take long to get you back up to speed. There are enough references and callbacks to last year’s finale to connect the threads, yet not so much that they slow down the pacing of the return. This is much appreciated.

There isn’t a sense of urgency in this week’s episode. It takes its time, showing us one or two characters at a time, and very few get a second glimpse. In this way, we get to check in, be reminded of the trajectories, delight in a few extended dialogue exchanges, and don’t have to struggle to keep up. There’s a whole season ahead of us, and “Valar Dohaeris” doesn’t push anything too big forward, letting fans get back into the swing of things before trying to drop a huge shocker.

Among those mentioned exchanges, one of the best is between Tyrion (Peter Dinklage) and Tywin (Charles Dance). The relationship between these two is definitely one of my favorite parts of GAME OF THRONES. We’re familiar with their past beef, and Tywin’s ongoing disappointment in his halfling son. The scene between them this week is not exactly a rehash of their previous conflict, but it definitely lets us know where they stand now, and how things may or may not move forward between them.

Dinklage and Dance slay this bit. Dinklage’s awards for the role are well deserved, and I would argue that he comes across as the most intelligent and compassionate character on the series. This shines through here, in stark contrast to Dance’s icy father, likely a deliberate choice on Dance’s part that serves the chemistry well. I do think, at some point, things will come to a head between the two. But it’s interesting to see Dinklage mix a need to win his father’s approval with a strong spirit that is willing to stand up to Dad, played with masterful nuance.

Tyrion also gets a tense scene with Cersei (Lena Headey). The siblings have a complicated relationship, to say the least, and the events of last year’s finale have left them on shaky ground with one another. “Valar Dohaeris” addresses this, and reminds me that Headey may be one of the more underrated performers on GAME OF THRONES.

The MVP of this episode, for once, may not be Dinklage, though, instead going to Natalie Dormer. Margaery Tyrell has little to do in the second season, but that will definitely not be the case in the near future. She immediately establishes herself as a very familiar political sort, and her public persona is deliciously crafted. I cannot wait for a true power struggle between her and Cersei, as Joffrey (Jack Gleeson) now has two women who seek to manipulate him for their own purposes and gains.

I also like the introduction of Mance Rayder (Ciaran Hinds, Political Animals, Munich), the King Behind the Wall. We don’t know a lot about him yet, but his early interaction with Jon Snow (Kit Harington) is layered and intriguing, setting up yet another ruler in a land already crowded with them. The casting choice here is inspired.

Among the other treats of the episode, we see more of the aftermath of the loss in Stannis’s (Stephen Dillane) camp, Robb’s (Richard Madden) anger at his mother, Catelyn (Michelle Fairley), is unabated, Daenerys (Emilia Clarke) has at least three tantalizing bits, Ghost saves a life, and Littlefinger (Aidan Gillen) makes an uncharacteristic generous offer (or does he?).

Sadly, the slower pace and lingering conversations means that not every fan favorite character shows up in “Valar Dohaeris.” Several of the most central players are completely absent, which leaves one very much wanting more at the end of the hour. However, this is understandable with such a large cast, not unprecedented in past entries, and it’s not like any minute within the episode is wasted, so it’s more a testament to how beloved these people have become, and how much we want to see them, rather than a complaint about the storytelling.

The effects are also quite excellent this week. From a creepy little girl who is more than she appears, to the fast-growing dragons, there are quite a few CGI elements present, all seamlessly incorporated into the fabric of the show. Clearly, much care and expense has gone into making these feel like everything else in this world, and they are remarkable for how well they blend with the actors and scenery, rather than stick out like a sore thumb.

Overall, I am left incredibly satisfied with the premiere, and stoked to watch more episodes. GAME OF THRONES’ third season airs Sundays at 9 p.m. ET on HBO beginning this week.

Terry Pratchett's Going Postal on DVD

     While Going Postal is an adaptation of the thirty-third book in Terry Pratchett's Discworld series, it is not necessary to have any background going in. The books cover a wide variety of characters, and there aren't filmed adaptations of most of them, so Going Postal is approached as a completely stand alone story. Considering that Pratchett's books sell second only to J.K. Rowling in the UK, and that this film is a fairly faithful version, it would be advisable to watch it. 

     Going Postal centers on Moist von Lipwig (Richard Coyle, Coupling, The Whistleblowers), a con man who is finally caught by the law. After a (purposely) failed hanging, Lipwig is brought before Lord Vetinari (Charles Dance, Game of Thrones, Bleak House), who gives him a choice: fall to his death, or reopen the defunct postal service. Lipwig chooses the latter, assuming he can easily make some money, then escape again to further his various schemes.

     What Lipwig doesn't realize is that the post office seems to have a life of itself. Millions of undelivered letters fill the halls, and the letters on the letters have the ability to come alive, showing Lipwig the consequences of his past mistakes. You see, while Lipwig thought forging bonds and such were victimless crimes, he has actually destroyed many families. Faced with what he has done, Lipwig has a serious crisis of faith in who he is, and must decide whether he even wants to continue with his bad habits.

     Not that he has much choice. To ensure that Lipwig doesn't take off, Vetinari gives him a golem named Mr. Pump (voiced by Nicholas Farrell, Torchwood) as a parole officer. Mr. Pump knows where Lipwig is at all times, and trying to escape is ineffective.

     To make matters worse, there are those who don't want to see the post office reopen and be restored to its former glory. Namely, Reacher Gilt (David Suchet, Agatha Christie's Poirot), who runs the Clacks, a message service using light signals. Gilt has paid an assassin to take out the past four postmasters, and has similar plans for Lipwig.

     Lipwig is aided in his task by not just Pump, but the old Junior Postman Groat (Andrew Sachs, Fawlty Towers) and young Stanley Howler (Ian Bonar, Hotel Babylon). Promoting Groat, and using Stanley's obsessive knowledge of pins to invent and revolutionize stamps, Lipwig wins them over. He also hires an army of golems to assist, and soon, business is thriving.

     Of course, not everything is smooth sailing. Lipwig falls for a golem-rights activist named Adora Belle Dearheart (Claire Foy, Little Dorrit). Adora is an attractive, but cold, woman, whose father invented the Clacks, but lost them after one of Lipwig's schemes caused the bank to recall its loan to him. Lipwig realizes he must tell her the truth, but that makes winning her over even harder than before. But Adora holds the key, not just to Lipwig's heart, but also to beating Gilt and running a great postal service. So try he must.

     Going Postal is set in a fantasy world, with werewolves and wizards and trolls. Yet, magic isn't an essential element to the plot of this story specifically, and more informs the tone, then sets the pace. This is a welcome, novel idea in an age where boy wizards and hunky teen vamps rule the movie theaters and television screens. The characters are unique and interesting, and many have multiple layers. While there are static villains, others, like Lipwig and Vetinari, aren't so easy to figure out. It makes for a fascinating tale, and keeps one guessing what will come next.

     The world created for Going Postal looks amazing, on the whole. The golems may not be the most advanced tech, but the buildings, technology, such as the Clacks,, and other characters who inhabit create in an environment rich in things to see, and with a complete, authentic feel. The attention to detail, from posters on the sides of buildings, to the elaborate costumes, really takes viewers into another world completely. Combining drama, mystery, and humor, it's hard to believe anyone who watches Going Postal will not be taken in by what Pratchett has created.

     The film itself was made for television, and aired in two parts. The total story length is about three hours, easily digestible in one sitting. Also included on the two disc set is over an hour of bonus features, including bloopers, a commentary by director Jon Jones, a five minute introduction by Terry Pratchett, which kind of rambles, deleted scenes, and image galleries.

     The best part of the extras are probably the interviews. Cast, crew, and, surprisingly, even fans are filmed speaking about the production, and cover a wide variety of the elements involved. Some are concerned with the design; some with how closely this adaptation sticks to a beloved book. There's plenty to sift through here, and while not nearly as interesting as the film, a nice companion to view on a separate day.


     All in all, Going Postal is sure to leave quite an impression, especially for those brand new to Pratchett's world. Acorn Media will release this DVD set this Tuesday, September 20th, and I highly recommend checking it out. Terry Pratchett's Going Postal is also available on Blu-ray, and while I have not gotten the opportunity to examine that edition, would imagine it's even better.

     Click here to pre-order Terry Pratchett's Going Postal on DVD.

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Article first published as DVD Review: Terry Pratchett's Going Postal on Blogcritics.

Game of Thrones ends with plenty of "Fire and Blood"

      HBO's Game of Thrones does little to tie up loose ends in the first season finale, "Fire and Blood." In the wake of the execution of Ned Stark (Sean Bean), Ned's son Robb (Richard Madden) mobilizes the Northern armies to march against King Joffrey (Jack Gleeson). Soon, Robb has captured Joffrey's uncle (and biological father), Jaime Lannister (Nikolaj Coster-Waldau), and his men are calling for Robb to be king. But Joffrey is not without leverage. He still holds Robb's sister, Sansa (Sophie Turner), in his castle, and no one knows that younger sister, Arya (Maisie Williams), has escaped King's Landing. Arya is on her way to The Wall. Tywin Lannister (Charles Dance), head of the Lannister clan, is smart enough to know Joffrey is treading a wrong path, and sends Joffrey's uncle, Tyrion (Peter Dinklage), to guide the boy King. Across the sea, the wild card, the Khaleesi, Daenerys Targaryen (Emilia Clarke), assumes her place as Dragon's Daughter, birthing three of the little lizards as her beloved husband's corpse burns.

     Joffrey is a spoiled little brat, and is causing much of the civil strife within his kingdom. Ned is willing to falsely confess to treason to keep the peace and allow Joffrey to save face, and yet Joffrey has this powerful, polarizing figure killed anyway, against almost everyone's wishes. The only motivating factor to such a decision can be ego, and ego will never serve a ruler. Absolute power corrupts, and with Joffrey, this is happening very early in his ascent. Joffrey should listen to those older and wiser than himself, such as manipulative mother Cersei (Lena Headey), because with the way he is going, he is not likely to sit on the Iron Throne all that long. She may not be the kindest voice out there, but at least she's intelligent.


     This is not a time to have strife within the Game of Thrones kingdom. They need to pull together. Daenerys is massing power to try to take the Iron Throne, which she believes to be her rightful inheritance. Who knows what is massing beyond The Wall to the North, but it looks unlikely it will still hidden away for very much longer. At such a time, Winterfell should be united with King's Landing for their mutual protection and survival. This will not happen as long as Joffrey sits on the throne, because he has thoroughly alienated the civilized people of the North. No mere apology will make up for killing Ned. And if the two groups cannot ally, it leaves them ripe for conquering from their enemies across the sea or behind The Wall.

     Sansa is still engaged to Joffrey. Should Joffrey force her to marry him, and after watching the king behead her father, Sansa will have to be forced, it will do nothing to heal the rift Joffrey has created. If anything, it will enrage the Northerners more, as they may attack in an effort to rescue her. The best thing Joffrey can do at this point is to give Sana safe passage home, but of course, he will not. It would offend his self-worth, and make him seem weak in his own eyes. Giving up his bride is a failure, even if Sansa is not the bride Joffrey wants. In this instance, he is willing to go along with his mother, proving she has not lost all sway over her insolent son. Should Cersei chose to push this influence, it can only be bad for Sansa.

     Will Tyrion be able to heel Joffrey? Tywin certainly hopes so. By placing faith in his dwarf son, Tyrion's confidence and determination to do a good job is likely increased exponentially, as he always craves acceptance from his father. It's hard to know what kind of leader Tyrion may turn out to be. He's very practical, and will not push Joffrey enough to lose his own head. Tyrion acts mostly in self-interest, but is not without compassion. He is bringing a whore to court, against Tywin's will, so Tyrion demonstrates he can buck authority when it strikes him right. Though a member of the "evil" family of the series, Tyrion manages the incredibly feat of staying likeable. It will be interesting to see what effect Tyrion has on King's Landing.

     Daenerys, who begins Game of Thrones as a meek, subservient girl, comes into her own as a powerful female ruler in a spectacular way. It's been wonderful to see her grow. Braving fire to hatch the dragons, she establishes herself as a genuine threat to Joffrey. Is she a hero or a villain? Her claims to the Iron Throne are through bloodline. Perhaps viewers can root for her to take it back, even if they are already on the side of Winterfell. Or can Daenerys make a treaty with the Northerners? That depends on how she plans on treating her subjects, which is less than clear thus far, as while she is Khaleesi, most of her actions revolve around her husband, Khal Drogo (Jason Momoa), who is now dead. Plus, this turn of events ensures cool dragon flight scenes for season two!

     Lastly, will Arya stay at The Wall when she arrives there? Her half brother, Jon Snow (Kit Harington), is stationed there, so she has a friend and ally. But Jon rides North of The Wall with the other men, and may not be present when she arrives, which would be unfortunate. It would be nice if he can return, at least before Arya takes the oath and has to spend all her days defending the Kingdom in the cold fort alongside her bastard brother. On the other hand, perhaps Arya is suited to such a life. She is a girl, but she shows passion and aptitude for combat, as well as a desire to be treated like on of the boys. This is her chance. Assuming they don't turn her out as soon as they discover she is not male, which is bound to happen eventually.


     Game of Thrones will return for season two, likely in the spring of 2012.

     If you like my reviews, please follow me on Twitter! Click here for all of my Current Season Reviews.

     To buy the Game of Thrones books on which the show is based, please click here.

Article first published as TV Review: Game of Thrones - "Fire and Blood" on Blogcritics.