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.

"Dragons" "Dance" in the GAME OF THRONES

Article originally written for Seat42F.

Given that HBO’s GAME OF THRONES has a penchant for making the penultimate episode of every season big (think: Ned Stark’s execution, The Red Wedding, The Battle of Blackwater), and given that last night’s episode is titled “The Dance of Dragons,” many assumed both splash and dragons would be served. Those people are likely not disappointed, then, with what GAME OF THRONES delivered.

The biggest thing by far in “The Dance of Dragons” is the sequence at the re-opened Mereen fighting pits. It starts off simple enough, with some charged interplay between Daenerys’ (Emilia Clarke) men, Daario (Michiel Huisman), Hizdahr zo Loraq (Joel Fry), and Tyrion (Peter Dinklage). Daario and Hizdahr both want Daenerys’ heart, and Hizdahr and Tyrion both seek to advise her. Well, what Hizdahr really wants is likely to depose the queen and rule himself, but until that happens, things still don’t look like smooth sailing for this all-male council.

All of this goes on as the fighting happens in front of the dais, which is interesting. Brutality is happening right in front of them, but it’s at least partially ignored because it doesn’t directly concern this group. They can talk about it on an intellectual level, but not being in the pits themselves, they don’t have that person stake. This highlights the detachment of leadership, and probably why Daenerys is having trouble controlling her people.

Jorah (Iain Glen) reappears in the pit, and that does make things more personal, at least for Daenerys. I’m not sure why The Bear returns again, having twice been cast out. Does he think he will get a different reaction from Daenerys this time? I can’t see any reason why he would think so, nor does he at the start.

But then the Sons of the Harpy attack, and nothing is certain any more. Now the danger really does threaten our small contingent. Hizdahr, the one of the attacker’s own who sits with the despised ruler, dies first. Jorah re-earns a place by Daenerys’ side by defending her, which she accepts when she takes his hand. It’s a smartly staged attack, with only a few Unsullied around and our heroes trapped in a confined space. This coup is bloody and intense and viewers will not soon forget neither the unexpected way in which it happens, nor the desperation as Jorah, Tyrion, Daario, Missandei (Nathalie Emmanuel) and Daenerys cower in the center of the pit, becoming part of the fighting action themselves, no longer separate and above it. It’s a powerful image.

Then, Drogon appears. The best dragon of Daenerys’ trio, he comes when his mistress needs him, barbequing her would-be assassins. He’s not yet completely full grown, and spears do threaten him, but he startles the bad guys enough to rescue Daenerys and fly away. It’s slightly deus ex machina, but it’s also a pay-off for a long-simmering story, and a good way to reawaken the dormant ‘mother of dragons’ plot thread.

Does Daenerys not care about her fellows? Perhaps in the moment she can be forgiven for being so focused on her pet, a truly mesmerizing sight. But when she flies off, she leaves the others in the pit. I think, given the confusion and chaos the dragon causes, they can escape, but how does she know that? Would she really be so heartless as to leave the others who have protected her so bravely to fend for themselves? This is the one thing that seems out of step in this portion of “The Dance of Dragons.”

While Mereen is the setting of a large portion of the hour, it is not the only place where things are happening, of course. The second most affecting bit comes when Stannis (Stephen Dillance) gives in to Melisandre’s (Carice van Houten) request to sacrifice his daughter, Shireen (Kerry Ingram), burning her alive, which thankfully is not shown in graphic detail. Now, according to Melisandre, this will guarantee Stannis’ progress in taking control of the Seven Kingdoms.

I don’t think Stannis’ actions can just be chalked up to desperation. True, his army is decimated, the stores burned, and he’s out of options, which does lead him to consider the one he wouldn’t before, killing his beloved daughter. But I don’t see malice or regret in his eyes when he talks to Shireen beforehand, and he actually does a kindness when he gets Davos (Liam Cunningham) out of the way, as Davos would have died defending the girl. Instead, Stannis really believes he deserves the Iron Throne and must do whatever he can to get it. There’s no anger or grief or selfishness in his face; this just is, and he accepts it as the heavy price he must pay. This will likely make most viewers, myself included, turn against his ‘just’ cause, as he’s stubborn to a tragic fault.

In Bravos, Arya (Maisie Williams) also does what she thinks she must, abandoning the mission Jaqen (Tom Wlaschiha) gives her when she spots Meryn Trant (Ian Beattie), one of those she’s sworn vengeance against for what happened to her family. She follows him around instead of killing the heartless businessman, who has earned his own death.

There’s no denying Trant deserves death, especially when his whorehouse proclivities are exposed, but I don’t think Arya is ready to go after this man head-on. She’s still very early in her training, and clearly her motives are purely personal, making her emotional. Plus, if she goes against Jaqen’s orders now, and I suspect Jaqen already knows what Arya is considering and is waiting to see what will happen, she’s likely to be kicked out the program. Then what will she do? Is being a Faceless Man just something she tests out, or is it her calling? Would she be allowed to leave the church without penalty?

Other great moments include Jaime’s enlightening discussion with Doran Martell (Alexander Siddig), which shows us Doran’s character, Bronn’s (Jerome Flynn) penalty being paid for striking a prince, and the tense few moments until Alliser (Owen Teale) opens the gate to Jon Snow (Kit Harington) and the Wildlings. “The Dance of Dragons” may be a big episode, but there are plenty left in these other sections for next week’s season finale, and many rich characters to keep playing with. If I had to hazard a guess, I’d say Jon will be the one to watch next week, and maybe Cersei, who sits this episode out.

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

GAME OF THRONES Finds a "Hardhome"

Article originally written for Seat42F.

This week’s installment of HBO’s GAME OF THRONES is called “Hardhome.” That is the name of a Wildling seaport where many of those who live north of the wall have gathered, and it is the place where Jon Snow (Kit Harington), along with Tormund Giantsbane (Kristofer Hivju), leads a band of men to save these savage people. It is also the set point of the biggest battle scene in years on the series, which results in the bad guys increasing their army significantly.

The war at “Hardhome” is quite impressive. Waves of dead soldiers attacking the Wildlings should motivate the latter to join with Jon Snow in a way all of his words will not. Jon can argue until he’s blue in the face, and even with the support of some of their number, including Tormund and Karsi (Birgitte Hjort Sorensen, Borgen), he’s not going to sway a majority of minds. These people are too ingrained with hatred for the Night’s Watch, and until the imminent danger is upon them, they cannot change their minds.

Jon is wise to realize that most of them will never be his friend, but he is banking on the fact that they might want to survive, as he does. He’s not asking them to swear fealty to any throne, which would always been a requirement to move south before, instead defying kings himself to save the kingdom and recruit more fighters. He’s a very intelligent and canny leader. If only he were a tad more persuasive, his plan might just work.

Still, the war sequence is a cool piece of filmmaking, with neat effects and a relevance to the characters. It’s not just for show, the scene meaning something very important to the story, and it lends an urgency and intensity that GAME OF THRONES has been lacking. I love this program most for the character development, but it needs some war bits every now and again to keep it interesting.

The rest of “Hardhome” is much quieter, with a few pivotal scenes for important people. Samwell (John Bradley) gives Olly (Brenock O’Connor) some advice that the lad is sure to misinterpret and will cause problems with. Cersei (Lena Headey) is as low as we’ve ever seen her, the actress doing a fantastic job of showing the queen mother’s despair and hopelessness. Sansa (Sophie Tuner) learns a vital secret from Reek / Theon (Alfie Allen) in a wonderfully charged moment. Arya (Maisie Williams) is given her first kill assignment. These are all excellent bits, and while they don’t need paragraphs to discuss them, taken together, they make for a heck of a great episode.

The other major story in “Hardhome” I do want to talk about, though, is the meeting of Daenerys (Emilia Clarke) and Tyrion (Peter Dinklage). Obviously, Daenerys’ first instinct when faced with a member of her rival house is to kill him (after bringing him home, apparently), and you can see that in the rage that emanates from her body. Thankfully, she holds back, as fans know that Tyrion is a smart and fair individual, not one to let clan disagreements drive his behavior. He really has come to help her, having no place else to go himself.

It isn’t easy for Tyrion to convince Daenerys to keep him on as an advisor, and a man less skilled at the art of conversation would fail. Tyrion decides to just be honest with the queen, telling her about Varys sending him, and giving a balanced opinion on Jorah (Iain Glen), whom Daenerys ends up sparing but banishing again. Tyrion knows he can’t talk Daenerys into anything, but if he’s open with her and she’s the type of queen he’d respect enough to serve, she’ll listen. Thank goodness this pays off.

Yet, Tyrion can’t help but recommend Daenerys gives up her dream of the Iron Throne. He has valid points on that, but being newly hired and precarious in his position, now might not be the best time to bring them up. It speaks to his honor that he does so, but that’s a Ned Stark-type mistake, being honorable to the point of foolishness. Let’s hope that Tyrion doesn’t share Ned’s fate.

GAME OF THRONES’s fifth season has been an exciting one, and if history is any indication, the penultimate hour of the season next week should be a doozy. But then again, the writers do like to do the unexpected (such as abandon the source material from the book series five years in), so you never know.

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.

Book Fans May Want to "Kill" GAME OF THRONES

Article originally written for Seat42F.

This week’s GAME OF THRONES on HBO is called “Kill the Boy.” The title does not refer to a person that should be murdered, though fans could be forgiven for thinking that, given the high death count in this series. Instead, it’s a phrase meaning to step up and be a man, readying yourself for whatever is coming at you next. While only directed at one character on screen, as with many episode titles, it can be applied to many.

“Kill the Boy” is the advice Maester Aemon (Peter Vaughan) gives to Jon Snow (Kit Harington) when Jon seeks advice about making a tough decision. Aemon doesn’t need to hear the details of the choice; he voted for Jon Snow and he trusts Snow’s leadership. What Aemon is telling Jon is that he just needs to embrace that mantle, no longer second-guessing his decisions. It’s a tough lesson for anyone to face, but especially for Jon, a very young man now leading a ragtag group who may be their realm’s only chance at survival.

Jon’s declaration is not a popular one. He tells the Night’s Watch they will be letting the Wildlings through The Wall. Wilding leader Tormund Giantsbane (Kristofer Hivju) isn’t happy either, refusing to serve any king or crow. But Jon’s orders are fair and just, basically instituting a diplomatic treaty that no one negotiated, not asking for fealty. It is painful for both sides, but if they don’t adopt it, they will all probably die. Tormund is wise enough to see that. The men of the Night’s Watch seem less so. Will they stage a coup, signing their own death warrant, or truly trust the man they elected?

Speaking of leadership, Daenerys (Emilia Clarke) is having a rough go of it herself. After the Sons of the Harpy kill Barristan Selmy (Ian McEhinney) – a change from the books I am very upset about, but that might open up a spot for Jorah (Iain Glen) to serve her again – she reacts in anger. She gathers the house leaders together and lets her dragons eat one. But after reflection, she realizes this will not solve the problem, only making the rebels more determined to fight against her. So she reopens the fighting pits, as requested, and decides to marry Hizdahr (Joel Fry), one of the leaders. 

Is this a sign of weakness from Daenerys? “Kill the Boy” has her giving in to the demands of terrorists and uniting with one of the rulers she hates. However, Hizdahr has been much more cooperative than most, and based on his actions in this episode, probably will willingly play second fiddle to the dragon queen, advising her on the best interests of his people, but scared enough of her to not try to overrule her. The question is how the rest of the people of Mereen will see her and if the thugs will be satisfied with their victory or keep pushing.

Jorah will surely find quite a different Daenerys when he gets back to her, if he gets back to her. Trying to take a short cut away from pirates, Jorah and Tyrion (Peter Dinklage) are beset upon by stone men in one of the coolest settings GAME OF THRONES has shown us in awhile. The fight itself is grounded, nothing super spectacular, but by letting it happen in mist-filled ruins with a dragon flying overhead, it really adds something cool to the proceedings.

Sadly Jorah is infected by the stone men, which is again quite a bit different from the books, since he isn’t even with Tyrion on the page when Tyrion goes through that waterway. Does this mean he isn’t destined to make it back to Mereen, or even if he does, his usefulness will be short-lived?

GAME OF THRONES is now swiftly chewing through the source material, ditching the majority of it, unfortunately, and simplifying the rest. Any time a book series is translated for the screen, changes happen, and I think most fans accept that. What is frustrating in this situation is that the show used to
be very true to the books, making some changes, but mostly minor ones. This gave viewers the expectation that this trend would continue.

Season five, however, has made for some extremely different situations, with about half the main cast (or possibly more) now on different paths than they were on the page, and many, many chapters being tossed out to get to the next thing quicker. Some arcs have already moved beyond what has happened in the five published volumes, even though they could be taking their time. HBO would be willing to make ten seasons or possible even more, but those in charge of GAME OF THRONES are determined to finish in seven years, a very unwise choice if you ask me, given the story could easily fill many more without dragging.

This makes for a conundrum. I try very hard to take the show on its own, and when doing so, I think GAME OF THRONES is still a very strong, very enjoyable show. There hasn’t been any episode I didn’t enjoy, and none of the stories have stopped making sense. The problem is, there is a lot I want to see but now realize I won’t. By starting out with respect for the books and then, halfway through, hugely abandoning them, the show writers and runners are demonstrating a major lack of respect for the author and the fans and a betrayal of trust.

Sansa’s (Sophie Turner) story is one of the few places I agree with the decision to change things. Sansa does not go to Winterfell in the book, it’s an imposter the Boltons are trying to pass off, and so the stakes have been raised greatly in “Kill the Boy.” But her case is the exception, not the rule.

I think, when the series is over and done with, GAME OF THRONES will still be a show I can rewatch and enjoy. However, there will be a big sense of wasted opportunity that the series did not go anywhere near far enough in its efforts to make a good adaptation, and I’ll be longing for another attempt as soon as possible.

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

GAME OF THRONES Fights "Harpy"

Article originally written for Seat42F.

“The Sons of the Harpy” are just one of the dangers faced in this week’s GAME OF THRONES on HBO. King’s Landing seems to dissolve further into chaos, with the leadership of the city in doubt. Mereen is in a very similar situation because of the group in this episode’s title. Strong families in the North and South make plans to strike towards the unstable middle, but who will win remains far from certain.

Let’s start with Mereen, which is where the hour ends. Daenerys (Emilia Clarke) continues to resist reopening the fighting pits, no matter how strongly Hizdahr (Joel Fry) argues for it. As a consequence, “The Sons of the Harpy” continue to slaughter her men, possibly taking out Grey Worm (Jacob Anderson) and Barristan Selmy (Ian McElhinney) in the final scene.

One can’t help but wonder if Hizdahr is working for the enemy. It may just be coincidence that he argues for one of the things that the Harpys want just before the attack, but in GAME OF THRONES, it’s hard to know where loyalties lie.

Whether Hizdahr is connected to the bad guys or not, I don’t know if Daenerys should give in. Many governments, that of the current United States included, have a policy against negotiating with terrorists. If Daenerys allows these tactics to work on her now, how soon before they use them again to force her into something else? If Grey Worm and Barristan are dead, though, which is unclear, she has little protection left to her and she may need to do something to stay on the throne.

One reason we have reason to hope Barristan is alive is because he is a storied, long-lived fighter, evidenced in the story Little Finger (Aidan Gillen) tells Sansa (Sophie Turner) in the crypts. Barristan is a bit player in the tale, which is used to remind Sansa of her lineage and how she must be strong, whether marrying a man she hates, or taking over as Wardeness of the North if Stannis (Stephen Dillane) arrives to retake Winterfell. But it reminds us that Barristan is around for much of the chaos earlier, and came out strong. He may do so again.

Daenerys may soon have more help in the form of Jorah (Iain Glen) and / or Tyrion (Peter Dinklage), who are on their way to her. She has reason to distrust both and may not take kindly to their arrival, but they both want to assist the queen. She could use more allies, and hopefully she will be reasonable enough to listen to them and what they have to offer.

Pivoting to the North, Stannis prepares to march to Winterfell, but before he does, he shares a very sweet moment with his daughter, Shireen (Kerry Ingram). Scarred and detested by her mother, Selyse (Tara Fitzgerald), Shireen has every reason in the world to be down on herself. Yet, in “The Sons of the Harpy,” she makes a connection to her dad, who does show his affection for her. Stannis is a busy man with a lot to think about, but the fact that he takes a little time out for his child says a lot about him, his often stoic disposition aside.

Stannis is staying with Jon Snow (Kit Harington) and The Night’s Watch presently. Jon is still refusing to help Stannis, as The Night’s Watch is not supposed to get involved with the affairs of the seven kingdoms, being above family alliances. He is tested, though, when he has to ask the Boltons, among others, for help in recruitment even though they killed his family. He is also tempted by a naked Melisandre (Carice van Houten), but resists. Can Jon stay strong and do what needs to be done to carry the mantle he has assumed?

I say yes because Jon is Ned Stark’s son. He may not be Ned’s biological child, a fact teased in Littlefinger’s story, which just may have quietly revealed Jon’s parentage for those paying attention (or not; all we have for now are rumors), but he was raised by Ned and that means a lot. He follows in Ned’s noble footsteps, putting duty above all else.

Those in King’s Landing are pretty much the opposite. Cersie (Lena Headey) finds a way to regain control when she sends Mace Tyrell (Roger Ashton-Griffiths) away to deal with a financial issue and empowers the High Sparrow (Jonathan Pryce) to raise an army and arrest Loras (Finn Jones), spurring Margaery (Natalie Dormer) to leave in anger when weak King Tommen (Dean-Charles Chapman) can’t free her brother. But Cersei has sins greater than Loras, and I can’t help but feel that the High Sparrow’s men will not care that she is the king’s mother when it comes time to charge her. She is playing with fire here.

This is a time when King’s Landing needs to be united. In Dorne, Ellaria (Indira Varma) and the Sand Snakes (The Almighty Johnsons’ Keisha Castle-Hughes, Mia and Me’s Rosabell Laurenti Sellers, and Silk’s Jessica Henwick) are planning to start a war with King’s Landing. Their time table is moved up when they learn Jamie (Nikolaj Coster-Waldau) has arrived to take away their leverage. The thing is, I don’t know if there will be anyone left in the capital for them to fight, given the uneasy state of things.

There are many great scenes in “The Sons of the Harpy.” I particularly like the interchanges between Jon and Sam (John Bradley), Jamie and Bronn (Jerome Flynn), and Tyrion and Jorah. All these moving parts are hard to balance, but GAMES OF THRONES does. With so many interconnecting players, though, it’s impossible to figure out where things will end up, especially as the show departs further and further from the source material, rushing through the existing material, skipping huge chunks, and making bold changes. The only thing for certain is that the story will be feature enjoyable messes.

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