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.
The episode sees the writers ruthlessly beginning to sew up loose (or underdeveloped) plots.
Throughout this cynical gaming experience, the message of the show seems clearer than ever: reject dignity or die.
We have no doubt that we’ll be miffed by how some of these categories shake out on Sunday night.
It’s long been a given on Game of Thrones that “All men must die.” The question, then, is less a matter of whether they will, but how they will.
The deeper irony here, of course, is that “The Dance of Dragons” refers to the divisive, needless war between two siblings for the Iron Throne.
If there’s one thing the frenetic White Walker-packed climax of “Hardhome” proves, it’s that at the end of the day, talk is cheap.
As you’d expect from a series with such a dismal track record of successful weddings, its idea of presents isn’t much better, and even the most sincere, like Sam’s, comes with a disclaimer.
We may not be able to control the narrative of what happens to us, but we can at least manage how we react to these things.
The problem these men face is that there are plenty of boys who find themselves in positions of power, and that’s not even mentioning King Tommen in King’s Landing.
Considering how many people are neither feared nor loved in “Sons of the Harpy,” respect is all that matters.
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.
Everything a player needs to know about Curve Digital’s literally sneaky puzzle platformer, Stealth Inc. 2: A Game of Clones, is in its title.
Once upon a time, two girls walk through a forest, muddying up their fancy clothes in search of a fortune-telling witch.
There’s plenty of death in the fifth season of Game of Thrones, and those deaths are understood as cautionary symbols of power.
Glancing over this year’s Emmy nominations is to marvel again at just how much the television landscape has changed in 20 years.
Game of Thrones tends to peak with its penultimate episode, leaving finales open to operate as a form of self-summary.
This minimal setup stands in sharp contrast to the previous season’s showstoppers.