The most thrilling and haunting details here are actively undermined by the chief technical gimmick of the film.
The film bottles a palpable emotion of unabashed joy, even when the rest of it seems to barely hold together.
Death is momentarily thrilling, but the struggles of those who live on are what sustain the series.
The problem this season on Game of Thrones continues to be plotlines that seem horrendously out of place.
Many of the events in Game of Thrones are developing so quickly that plot, by necessity, substitutes for development.
Despite being home to the Faceless, the House of Black and White is filled with a variety of visages: statues to the various gods of Westeros.
It’s fitting that the titular House of Black and White is home to No One, for if there’s anything true of Westeros, it’s that nothing is ever black and white.
The unifying element of “The Laws of God and Men” may be the profound silence of the show’s architecture.
Only Michelle MacLaren’s brilliantly composed coda with the White Walkers sticks in the memory.
As with any episode of television that bears Michelle MacLaren’s directing credit, “Oathkeeper” does not merely look good.
The Sansa/Cersei contrast sets the tone of the episode, which focuses on women more than any other hour of the series to date.