A Lighter DARK CRYSTAL

Article first published as THE DARK CRYSTAL AGE OF RESISTANCE Review on Seat42F.

Jim Henson’s The Dark Crystal film has quite a cult following. Many, many fans love the movie, and have watched it dozens of times a piece. Growing up, while I found it equal parts disturbing and boring, I certainly had more than my share of peers who told me I was wrong. And whether you like the story or not, there’s certainly plenty to appreciate in the sheer amount of work that goes into such a fully-realized puppet-driven world.

THE DARK CRYSTAL: AGE OF RESISTANCE is better than the movie. That is an opinion, of course, so agree or not, that is your choice. There are several things that stand out to me in forming this opinion.

One, the settings are so much richer and more beautiful. The original was post-apocalyptic, and that is a valid choice for the story being told. By setting AGE OF RESISTANCE as a prequel, the creators get to show us the beauty of Thra in its prime, and it is breath-taking. There are several distinct zones of habitat, each more impressive than the last. Setting plot aside, it has an Avatar-esque quality of something never seen before, and that’s worth watching.

Two, the voice cast is amazing. With no offense to the originals intended, as they did a fine job with their task, big talents lined up to be part of such a storied franchise. Returning and new characters alike boast big names along the lines of Jason Isaacs (Harry Potter), Sigourney Weaver (Alien), Eddie Izzard (Ocean’s Twelve), Helena Bonham Carter (Les Miserables), Caitriona Balfe (Outlander), Lena Headey (Game of Thrones), Natalie Dormer (um, Game of Thrones), Nathalie Emmanuel (yet another Game of Thrones), Toby Jones (Captain America), Theo James (Divergent), Taron Egerton (Rocketman), Gugu Mbatha-Raw (Belle), Awkwafina (Crazy Rich Asians), Alicia Vikander (Ex Machina), Simon Pegg (Shawn of the Dead), Benedict Wong (Doctor Strange), Keegan-Michael Key (Key & Peele), Andy Samberg (Brooklyn 99), Bill Hader (Barry), and Mark Hamill (Star Wars). And that’s not even a complete list.

Third, it feels like a fully realized story. It’s clear the writers have firm direction, partly because we already know the ending. But even if we didn’t, it’s clear this is well thought out, carefully crafted with rules that the series sticks to and a sense that it knows what it’s trying to do.

That is a bit of a downside, as well. After all, while would-be hero Gelflings strike out on quests to save their people from the ruling Skeksis, it’s well known that they will fail. The best these main characters that viewers are going to care about can hope for is noble martyrdom. The movie sets up only failure, and everything good in this place should be gone by the end of AGE OF RESISTANCE.IN ITThat isn’t an argument against watching DARK CRYSTAL: AGE OF RESISTANCE. After all, everyone knew the Titanic sank, and yet they flocked to the theatres to see the film of the same name. There’s a bit of a dread hanging over the story here, too, but it’s also hard to keep that in mind when it’s so easy to root for the Gelflings.

AGE OF RESISTANCE hasn’t won me over and made me a DARK CRYSTAL fan… yet. But by the time I finish it, it just might. It may take all ten installments to decide if the project was worth it, but it definitely expounds upon the universe in new and interesting ways. Had this come before the film, I’d probably have been more invested in the original follow-up. But the Star Wars prequels, this is not, and if you have even a slight bit of curiosity, I recommend checking it out.

THE DARK CRYSTAL: AGE OF RESISTANCE is streaming on Netflix now.

GAME OF THRONES - The Complete Sixth Season

Article first published as Blu-ray Review: "Game of Thrones - The Complete Sixth Season" on Blogcritics.

HBO’s Game of Thrones hits Blu-ray, digital, and DVD with its latest season just in time for the holidays. By now, anyone who might be interested in this release, The Complete Sixth Season, already knows the players and settings pretty well, hooked into the battle of sex, violence, and political intrigue for years. Who will end up ruling Westeros, and who else among our favorites might survive the bloody, never-ending conflicts? The sixth year continues those threads and tees up the final two, shorter seasons, set to air next summer and the year after.

A lot of exciting stuff happens in sixth season. The North descends further into chaos as Ramsey Bolton (Iwan Rheon) secures his hold on the land. At the same time, Sansa Stark (Sophie Turner) and a resurrected Jon Snow (Kit Harington) build an army to unseat Bolton, the bastard sitting in their departed father’s chair. Further north, the brothers at The Wall are thrown into chaos, and beyond that, Bran Stark (Isaac Hempstead Wright) reappears after a season off, and we finally learn the story behind fan-favorite Hodor’s (Kristian Nairn) name in a very memorable episode.

Looking south, King’s Landing is a mess as Cersei (Lena Headey) and Margaery Tyrell (Natalie Dormer) each try to bend the ear of the ineffectual King Tommen (Dean-Charles Chapman), who continues to be stream-rolled by The High Sparrow (Jonathan Pryce). A clear winner emerges by the end of the year, probably surprising even Jaime Lannister (Nikolaj Coster-Waldau), who has come home to the capital. However, the new ruler shouldn’t get too comfortable, as the vengeful Sands steal control of Dorne and look towards the Red Keep.

This isn’t even taking into account what’s going on across the sea, with Arya Stark (Maisie Williams) training to take her revenge, and Tyrion Lannister (Peter Dinklage) trying to hold a city together for the MIA Daenerys (Emilia Clarke). And off the coast of Westeros, Yara (Gemma Whelan) and Theon Greyjoy (Alfie Allen) struggle with murderous family members to attempt to hold onto their own lands.

This is all only a very brief overview of a busy ten episodes, which include many more characters and scenarios. The pacing is excellent, everything constantly in motion, and the various threads balanced beautifully. The world created continues to be grounded and compelling, and it’s very easy to see why this is one of the most popular series being made right now.

However, as a fan of the books first, I still find it a bit hard to overlook the horrible way in which the TV show departed from the source material. For four seasons, Game of Thrones was a pretty faithful adaptation of the novels. Beginning in season five, and continuing even more blatantly this year, the story has gone in a myriad of different directions, thumbing its nose at the author, George R.R. Martin. I get that a video medium needs to take certain liberties, but either it stays fairly true or it is its own thing; I can’t recall another example of a show that started the former and changed to the latter mid-stream. While part of this may be because the show has gotten ahead of the books in many regards, Martin being a notoriously slow writer, it still feels fundamentally wrong, a betrayal of the fans.

And yet, I can’t stop watching. I have come to love these actors and their portrayals of the characters, and if I can push the books out of my mind, it’s still a very good show. It makes me supremely sad that such an excellent show is tainted in this way, but at this point, it’s too late to change that. I am committed to seeing it through to the end regardless, even as I already long for a re-do in the future.

HBO usually takes good care of its viewers in terms of extras on their home releases, and Game of Thrones – The Complete Sixth Season is no exception. Besides the expected deleted scenes and audio commentaries (thirteen for ten episodes!), there is an in-episode guide that seems invaluable for such a complex, interwoven tale. The guide also provides background info for the series, not just the story, which means there is useful trivia even if one is already well-versed in all things Westeros. Adding to the mythology are a batch of “Histories & Lore,” as told by the characters.

Beyond that, there is an in-depth look at the impressive Battle of the Bastards sequence and a peek at the work done in Paint Hall. We also get to see how the Dothraki made their come back in the production after having been out of the story so long. So there is quite an impressive array of bonus material.

Despite my reservations about Misters Benioff and Weiss, the show-runners, and some of the (in my opinion) poor decisions they’ve made of late, Game of Thrones remains a must-see program, and this set is well worth a look.

Game of Thrones – The Complete Sixth Season is available now.

Every GAME OF THRONES Is a "Gift"

Article originally published as GAME OF THRONES Review Season 5 Episode 7 The Gift on Seat42F.

This week’s GAME OF THRONES gives us “The Gift” of great story, albeit one that is leaving the book series behind quite rapidly. Right now, there aren’t many big offensives sweeping the Seven Kingdoms, nor armies clashing on the field of battle. The characters are all mainly concerned with what is happening in their own locale. But this is important, resolving a number of smaller plots before the tale goes big picture again, as must inevitably happen.

Let’s start with, in my opinion, the most affecting thread this week, which involves Sansa (Sophie Turner) asking Theon (Alfie Allen) for help. Viewers may feel sympathy for Theon last week when he cries while he watches Sansa be assaulted, though he frustratingly does not act. When Sansa reminds him who he is and begs him to signal for help, he agrees, but quickly betrays her to Ramsay (Iwan Rheon).

Theon is truly Reek now, too terrified of Ramsay to act. Those tears may have been sympathy, but they were not a sign that he would turn on his master. As Theon tells Sansa, there are worse things that being killed and Theon has lived through them. Compared to his existence a year or two ago, Theon is relatively comfortable now. He doesn’t want to risk going back to the worse.

So how can Sansa escape? Brienne (Gwendoline Christie) remains outside of Winterfell, waiting for a sign that won’t be coming. Theon is Sansa’s only hope that she knows of, no one else being granted access to visit her locked room besides Ramsay himself, and Theon no longer seems a viable option. Sansa has shown more of a spine this season, and her grabbing the corkscrew in “The Gift” might prove she’s willing to take matters into her own hands. Not well experienced, though, can she be successful with such a venture?

Speaking of strong women, Tyene Sand (Rosabell Laurenti Sellers, Mia and Me) taunts Bronn (Jerome Flynn) through the bars of their respective prisons. Tyene reveals how dangerous she is when her scratch almost kills Bronn. But she’s not cruel enough to let him die, so I can’t hate her, at least not yet. GAME OF THRONES hasn’t given us enough of the Sand Snakes yet to really judge them, but this interaction is a fun, tense scene that makes for good entertainment.

While Tyene and Sansa display their resolve, Cersei (Lena Headey) does the opposite. She thinks she is at the top of her game, reveling in the imprisonment of Margaery (Natalie Dormer) and rubbing the victory in the young queen’s face. (I believe Cersei is sincere about her devotion to Tommen (Dean Charles-Chapman) but not in her promise to help his wife.) However, that leaves Cersei vulnerable, too pleased with herself to watch her back. And so, as has been anticipated by fans for weeks, “The Gift” finds the High Sparrow (Jonathan Pryce) locking Cersei herself up by the end of the hour.

The High Sparrow has quickly proven to be a very dangerous man. He’s not mean, but he has strong opinions and beliefs and lives by them fully. If he could be persuaded to compromise by anyone, Olenna (Diana Rigg) would have been the one to do it, but he remains completely unmoved by her pleas, logic, and threats alike. Being so rigid means the High Sparrow will give no credence to anyone’s advice but his own, and that means, righteous or not, he’s an enemy that cannot be reasoned with.

At the Wall, Jon Snow (Kit Harington) leaves, almost as stubborn in his mission, not convinced by the likes of his First Ranger and others to change course on the Wildlings. To be fair, Jon is in the right, but being in the right doesn’t help Samwell (John Bradley), who struggles to protect Gilly (Hannah Murray) from his own black brothers when he doesn’t have many friends left around to help him. Might it be time for Sam to break his vows, and could Jon ever forgive such an action, no matter how true Sam’s intentions, when the punishment for such is death?

These are just some of the plots in “The Gift,” as GAME OF THRONES has a lot of moving parts at all times. Other highlights of the hour include Sam’s touching eulogy for the departed Maester Aemon (Peter Vaughan), Tyrion (Peter Dinklage) convincing someone to buy him, Jorah (Iain Glen) fighting for the attention of Daenerys (Emilie Clarke), Daario (Michiel Huisman) pointing out to Daenerys that she’s the only one in Mereen not free, and Stannis (Stephen Dillane) firmly shutting down Melisandre’s (Carice van Houten) suggestion that he sacrifice his daughter. There’s a lot going on, and as usual, it’s quite good.

My only complaint, and this is an ongoing one, is that GAME OF THRONES starts off very faithful to the books, and now has been completely disregarding them. It’s something I’ve decided I have to let go, taking the television show completely on its own from this point forward. There are likely to still be some similarities between the two, but now the differences vastly outnumber those. I still feel betrayed by those making the show, since this does not seem to be their game plan at the beginning, but I do still think the TV program is excellent.

GAME OF THRONES airs Sundays at 9 p.m. ET on HBO.

GAME OF THRONES Remains "Unbowed, Unbent, Unbroken"

Article first written for Seat42F.

In the latest installment of HBO’s GAME OF THRONES, our heroes remain “Unbowed, Unbent, Unbroken.” They sure have more than their share of challenges to overcome, so that’s quite impressive. Among the tribulations this week, Tyrion (Peter Dinklage) and Jorah (Iain Glen) are captured by slavers, Arya (Maisie Williams) learns secrets in the House of Black and White, Jaime (Nikolaj Coster-Waldau) and Bronn (Jerome Flynn) fail to execute a rescue, Margaery (Natalie Dormer) and Loras (Finn Jones) face trial, and Sansa (Sophie Turner) marries a monster.

Poor Sansa. She has worse luck than pretty much anyone else in GAME OF THRONES, and that’s saying something! Her marriage to Tyrion, the disfigured, older dwarf is probably the best thing that happens to her. But now, back in Winterfell, she must wed Ramsay Bolton (Iwan Rheon), arguably the most twisted individual in the Seven Kingdoms, and that is also saying something.

Yet, Sansa remains “Unbowed, Unbent, Unbroken.” She doesn’t start out as strong as most Starks. She alone of Ned’s children seems fragile and easily manipulated. Throughout her travels, though, she has steadily found a solid core she can rely upon and a self-reliance that would do her parents proud as evidenced by her bearing throughout the hour. It’s quite surprising to see this, and while she certainly doesn’t have fun being raped by Ramsay in front of Theon (Alfie Allen), I don’t think this will completely destroy her, either. She will overcome.

Might Theon be able to assist Sansa by escaping with her? Theon did some very bad things early in GAME OF THRONES, but he has paid for his mistakes by now. Had he actually killed Sansa’s brothers, as she believes he did, there would be no redemption for him, but he did not. Mostly, he just played at war. While his actions did lead to the fall of Winterfell, the keep probably would have fallen anyway if he’d not acted, given the chaos around it.

Theon has been broken severely by Ramsay, and for awhile, it seems like who he is is gone forever. However, there’s something in his eyes in “Unbowed, Unbent, Unbroken,” even if those adjectives don’t describe him. Now that he must watch Sansa suffer, someone he feels deep regret for hurting and a older brotherly-type of protectiveness, he may find an inner motivation he could not muster to save himself. Let’s hope that’s what happens.

Half a world away, Arya is doing the opposite of Theon, not finding herself but losing herself. In order to join the Faceless Men, she must learn to lie and give up who she is. “Unbowed, Unbent, Unbroken” sees her make significant progress on this, leading a girl to her death and being allowed into the chamber of faces. I can’t help but think Sansa may be her family’s future since Arya likely won’t be a Stark at all for much longer.

But is anyone ever truly not themselves? Jorah’s father was a part of the Night’s Watch, men who give up their families and former lives. Yet, when Jorah hears of his dad’s death via Tyrion this week, he looks pained. Even long after a patriarch leaves a clan, there are residual feelings from a bond forged too hard to even be completely severed. It’s a moving scene that reminds us of this.

In King’s Landing, Cersei (Lena Headey) believes she scores a major victory against the Tyrells when the High Sparrow (Jonathan Pryce) arrests the queen and her brother. Cersei’s smug smirk, honestly telling Olenna Tyrell (Diana Rigg) she cannot do anything for Olenna’s grandchildren, shows how victorious Cersei feels. Things are finally going her way.

I can’t help but feel Cersei doesn’t realize there’s another shoe to drop. She has granted the High Sparrow too much power, and by allowing him to take a queen, Cersei doing nothing as the ineffective child king Tommen (Dean-Charles Chapman) watches on in horror, she grants the High Sparrow even more. Yet, Cersei is one of the biggest sinners in the city. She doesn’t realize that she will probably be the next target, and she really should. Her impending downfall will be her own fault.

The one thing that didn’t sit right with me this week is that Lancel (Eugene Simon) and his fellow sparrows don’t arrest Littlefinger (Aidan Gillen) when he returns to the capital. Littlefinger is a big offender and not nearly as powerful as Cersei. His crimes against the religion are known, his brothel having already been raided. Why do they hesitate? Is the High Sparrow just waiting to see how Cersei will react to Margaery’s arrest to gauge how far he can push the ruling body? I think Littlefinger should have been taken into custody.

Assuming Littlefinger flees the city before he is taken, I do fully believe that Littlefinger will kill Sansa in a heartbeat if it will advance his position. He isn’t just blowing smoke up Cersei’s skirt when he tells Cersei he agrees with the queen mother. However, he’s also a long-game guy, so it may be wise for him to agree with Cersei but not actually execute Sansa, as it would be awfully hard to rule over the rebellious north after murdering a daughter of such a respected house. Just know that he will do whatever best suits him, with no regard for anyone else, and that makes him dangerous.

I won’t go into how much “Unbowed, Unbent, Unbroken” differs from the books this week (see past my past reviews for that). At this point, GAME OF THRONES has made a number of huge departures from the source material, which makes the show unpredictable. Taken on its own, it remains a solid, engaging series, though, and one I enjoy. I do think what the current showrunners are doing is a despicable betrayal of the book fans, but at least they are making good television while they do it.

GAME OF THRONES airs Sundays at 9 p.m. ET on HBO.

"High Sparrow" Doesn't Play the GAME OF THRONES

Article originally written for Seat42F.

As usual, a lot happens to many different people in this week’s GAME OF THRONES on HBO. I could write a sprawling introduction, but that seems a little pointless for an hour like this, so let’s just get to it.

First, the episode is called “High Sparrow,” so as one might expect, we meet the High Sparrow (Jonathan Pryce, Wolf Hall, Pirates of the Caribbean), a mild-mannered individual who truly lives his faith. His followers are terrorizing the High Septon (Paul Bentley) and his ilk as punishment for their hypocrisy. When the Septon asks the High Council to put a stop to the group, Cersei (Lena Headey) jails him and elevates the High Sparrow as a replacement.

This seems very short-sighted of Cersei. She is guilty of at least as many sins as the Septon is. Who is to say that the group won’t come after her next? Cersei is likely trying to do what she always does, buy loyalty by giving status, but that doesn’t seem like the type of thing that will work on the High Sparrow, a man who gives away even his shoes to those in need. A person like that cannot be bought, and Cersei is certainly setting herself up for punishment.

That is, if she’s even still in King’s Landing. Margaery (Natalie Dormer) marries Tommen (Dean-Charles Chapman), and the first thing she does after cradle-robbing sex is slyly ‘suggest’ to her husband that his mother might be happier back in Casterly Rock. We haven’t seen a lot of Margaery’s conniving ways in GAME OF THRONES yet, but a woman that has married three kings in as many years is shrewd. Now that Cersei is all that stands between Margaery and the Iron Throne, Tommen being an easily influenced puppet, her claws are coming out.

All of this sets up a fantastic dynamic in King’s Landing. What I love about GAME OF THRONES is that it constantly tears down the people who have the power. From King Robert in season one, to those who grabbed various splinters of it after his fail, such as Robb Stark and Tywin Lannister, no one stays in charge for long. At this point, those left tend to be the lesser players, which makes the battles more messy and frequent, none as equipped to play the long strategy game. “High Sparrow” sets up what should be some very entertaining conflicts.

The one ruler in the land who does have a handle on things is Jon Snow (Kit Harington). In “High Sparrow,” Jon makes all the right moves. He promotes his nemesis that deserves respect, Alliser Thorne (Owen Teale), winning back over his detractors. He tries to promote Slynt (Dominic Carter), too, but when Slynt doesn’t know when to keep his mouth shut, Jon executes him to solidify his position. He refuses Stannis’ (Stephen Dillane) offer to rule the North again because of his vow, as noble as his father was.

That last one is slightly troubling. Ned Stark was so noble that it got him killed. Will Jon be similarly short-sighted? I don’t think so. The reason being, Jon took up with a Wildling girl, indicating that he knows when to toe the line and when to diverge from it. I never bought that Ned is Jon’s biological father, as cheating on his wife would be totally out of character for Ned, so while Jon may have taken Ned’s values, I don’t think he’ll be as stringent as Ned was, not a clone of the dead man.

Now as for who Jon’s real parents are, well, that’s a topic of much debate, and if you want speculation, I recommend googling. I will say I think there is Stark blood there, and also another noble family lineage.

Winterfell’s new rulers seem much less established. Roose (Michael McElhatton) decides to wed his bastard, Ramsay (Iwan Rheon), to Sansa Stark (Sophie Turner), which he thinks will win him over the North. But the Northerners are stubborn and are likely to see right through this. Either Sansa becomes worthy of her surname and takes out Ramsay to rule herself, or the other lords in the surrounding areas will think she’s a pawn not worth following. The marriage won’t last in the rebuilt Winterfell, which it’s sad to see again under these circumstances.

Might Theron (Alfie Allen) be off assistance to Sansa? Theon betrayed the Starks previously, but he’s clearly not happy in his new position under Ramsay. The question is whether all personality has been flayed from him, or if there’s still something within the lad that will allow him to fight back. If so, this man whom Sansa despises, with good reason, could end up being her most vital allay.

SPOILER! In the books, Ramsay weds a fake Sansa since no one knows where the real Sansa is and practically anyone that would recognize her as dead anyway. I kind of dig this change because Sansa’s plot in the page gets rather dull around here. It gives the struggle higher stakes to have Sana involved. I’m most interested to see where this is going, and if it continues to follow the books, with Sansa taking over her imposter’s role.

Sansa is also the last real Stark. Robb is dead, Jon is a bastard, Bran is with the Three-Eyed Crow and not likely to come home, Rickon is god-knows-where and still quite young, and Arya (Maisie Williams) is choosing to become No One. If a Stark is to play a role in the GAME OF THRONES again any time soon, it must be Sansa, though I assume Rickon will have to return at some point to carry on the name.

“High Sparrow” ends with a heck of a cliffhanger when Jorah Mormont (Iain Glen) nabs Tyrion (Peter Dinklage) in a brothel. It’s a worlds-collide moment that is highly satisfying. Jorah says he’s taking Tyrion to ‘The Queen.’ Does that mean Cersei, who has offered a hefty reward? Or does he refer to Daenerys (Emilie Clarke), whom Jorah might hope to win back a position from with such a valuable hostage? Given Jorah’s status as a desperate, aimless cast-out, it could very well be either, though Tyrion should hope for the latter, the former meaning certain death.

As usual, I didn’t get to everything in the episode because GAME OF THRONES packs a lot into every hour. So far, the show been wisely choosing who to use and when, keeping enough tabs on the main players, while not forcing story where it doesn’t need to be. “High Sparrow” continues this trend, and is a very entertaining installment.

GAME OF THRONES airs Sundays at 9 p.m. ET on HBO.

GAME OF THRONES Has "Come"

Article originally written for Seat42F.

Season five of HBO’s GAME OF THRONES begins with the various characters worried about “The Wars to Come.” Those with serious power in Westeros are now almost all dead, and the ones left behind fight for seats they are not worthy of holding. Across the sea, a new ruler struggles to find her own bearings, but some help is on the way that may just get her over the hump, if she can trust it.

The last sentence in the introduction paragraph refers, of course, to Tyrion Lannister (Peter Dinklage) and Daenerys Targaryen (Emilia Clarke). Unlike the rest of the both their families, these two have been the reasonable, strong fighters, who overcome the odds to succeed, and actually care about the people under them. Either would make a wise, just leader, but together, they could be unstoppable.

Tyrion starts “The Wars to Come” in a box, secreted across the sea by Varys (Conleth Hill), now also on the run. Varys believes Tyrion is the type of leader that the Seven Kingdoms need, and wants to introduce him to Daenerys. But they are still a long way away from her yet, and lots can happen on a journey. One thing I’ve learned about GAME OF THRONES is that plans made much in advance rarely come to fruition.

Daenerys could really use the assistance about now. Having spent four seasons rising in power, she has stalled in her current land. Apart from her dragons, whose trust she has lost, her closest advisor sent away, and the nobility she displaced rebelling against her, she is not doing well. Fans love Daenerys and know she can be a good queen, but Daenerys isn’t yet ready for the challenge peace brings. She can wage campaigns and battles fine enough, but like many in history, she has a hard time adapting in the aftermath of war.

Tyrion has proven himself capable in both situations, so hopefully they find and help one another.

Back in King’s Landing, a conflict is brewing between Cersei Lannister (Lena Headey) and Margaery Tyrell (Natalie Dormer). Both seek to control Tommen (Dean-Charles Chapman), the current boy on the Iron Throne. Cersei is starting at a disadvantage, though. Drunk and sick with anger and grief over the loss of her father and her brother, Jaime’s (Nikolaj Coster-Waldau), betrayal at setting free Tyrion, she is not thinking clearly. It seems that a prophecy she is told as a little girl in the opening scene of “The Wars to Come” may very well come true, since Margaery doesn’t seem hampered by either thing. But I can’t help but think neither of these women are going to matter in the end, not strong enough to hold two kingdoms, let alone seven.

Lastly, Jon Snow (Kit Harington) is having a hard time of it up on The Wall. Caught between Stannis Baratheon (Stephen Dillane) and Mance Rayder (Ciaran Hinds), both stubborn men, he tries to broker a compromise that lets both walk away. That fails, and Stannis publically executes Mance. Rather than watch a great leader he respects suffer, Jon puts Mance out of his misery with an arrow through the heart.

Will Stannis let Jon’s actions stand? Technically Stannis has no control over the Night’s Watch, an independent body that Jon is a part of. But when has the exact rule of law ever stopped Stannis? He is a bitter man with a chip on his shoulder and something to prove. Surely, he cannot be happy at all with Jon’s decision. Stannis thinks he knows the type of man Jon is, but “The Wars to Come” proves that not to be the case. Stannis and Jon are not going to be friends.

As usual in GAME OF THRONES, there are more than three threads in “The Wars to Come.” I only choose these three, though, because they seem the most important, and the ones likely to have the biggest effect on the next few hours. It’s a very full show with a lot going on, beautifully balanced. It serves these grand stories well, while giving us meaningful bits with Sansa (Sophie Turner) and Tormund (Kristofer Hivju) and Brienne (Gwendoline Christie) and Missandei (Nathalie Emmanuel) and others. It may actually be hard to predict which of those minor moments will be important later. Thankfully, the show has done a fine enough job defining the characters and situations that it is no longer hard to follow along in this complex web, and if they do matter, many will remember them.

GAME OF THRONES airs Sundays at 9 p.m. ET on HBO.