I believe it is not too bold a statement to say that Game of Thrones is one of the best programmes to have graced our television screens. Power, greed, violence, sex, incest, fantasy – you name it, the show has it and so wonderfully put together thanks to the masterful craftwork of David Benioff and D. B. Weiss. For the past two series watching each episode was a weekly event, an hour of pure captivation down to the shows sheer epic-ness. Tonight was no exception, as the premiere episode of Season 3 reminded us of just how brilliant it is and how much we have actually missed it.
If, like me, you haven't had time to re-watch Seasons 1 and 2, it may take a while for past events to come together. Thankfully, however, we join the first episode where Season 2 ended, the aftermath of the Battle of Blackwater, Jon Snow's integration into the Wildlings and as Tywin Lannister so helpfully summarises, there are "seven kingdoms to look after, three of which are in rebellion".
In a pre-credit sequence we join the surviving Nights Watch men after an attack from the White Walkers. They declare their loyalty to protecting the seven kingdoms and vow to return to the wall, to warn of the dangers approaching with winter's arrival. After being captured by the Wildlings, Jon Snow is taken to their community (giants and all) and speaks to Mance Rayder, their king. After a startling discovery at the wall in which Craster fed a baby to a White Walker, Jon pledges his loyalty to the Wildlings, wishing to "fight for the right side". Queue title sequence and Ramin Djawadi's instantly recognisable score. We're back.
King's Landing is severely affected after the war. First on a literal level, as surrounding scenery is masked with development and construction, whilst bodies (victim of wildfire) wash up on shore. Second on an emotional and personal level. Joffrey Baratheon is hated more than ever (although perhaps soon to be salvaged thanks to Margaery Tyrell's charitable work) and Tyrion, despite his grand efforts in the war, remains no good to bear the Lannister name. In a wonderfully written and heartbreaking exchange, Tywin Lannister makes this known via discourse of hatred, embarrassment and ridicule. He effectively declares Tyrion to be the bottom rung of the Lannister family and expresses un- paternal wishes. It's to Charles Dance and Peter Dinklage's credit that this scene is so effective. Dance's slurry of venom mixed with Dinklage's pained expressions is a truly captivating moment. Boy how I have missed their presence
Meanwhile, we join Daenerys Targaryen and her dragons at sea, on her mission to build an army. She travels to the city of Astapor to buy an army of trained slave soldiers, known as the 'Unsullied'. So brutal are they, they've killed babies and show no grimace at getting their nipples chopped off. Their stone stature was not as impressive however, as the subtle comedic translated exchange between Daenerys and the army's trainer. Both characters jibe at one another regarding their morals, or lack there of, referring to a recurring theme in Game of Thrones – how low will people stoop resultant from their lust for power?
Whilst in Astapor, an attempted assassination of Daenerys by the warlocks of Qarth fails, and she is saved by Barristan Selmy, the former commander to her father, who pledges his loyalty.
Elsewhere in the episode, we return to Davos, reeling with injuries from the wildfire explosion and mourning the death of his son. He returns to Dragonstone to speak to Stannis Baratheon, only to be locked up after his attack on Melisandre, who appears to have a dark hold over Stannis. Robb Stark continues to travel with his army, wishing to fight the Lannisters. Still angry at his mother for releasing Jamie Lannister (for the safety of Arya and Sana), he expresses his wishes for her to remain locked up. Each of these character tropes remain out of the spotlight this episode, however, leaving depth and focus toward the aforementioned developments of Daenerys and the Lannisters. It is a wise move for this season's opening, as we're taken to the heart of the action and emotion for the time being. As always with Game of Thrones, some story arcs take a while to get going but I have no doubt that it will all be developed brilliantly in due time.
It is worth mentioning the noticeable improvement to the look of the show. To me it felt more vivid, brighter and beautiful. Whilst the majority of additions were CGI, long shots from different locations nevertheless showcased the developments of scenery on a grander scale than seen previously. Game of Thrones is definitely upping its, er... game.
A most impressive return - welcome back Game of Thrones. I've never been so excited for winter.
If, like me, you haven't had time to re-watch Seasons 1 and 2, it may take a while for past events to come together. Thankfully, however, we join the first episode where Season 2 ended, the aftermath of the Battle of Blackwater, Jon Snow's integration into the Wildlings and as Tywin Lannister so helpfully summarises, there are "seven kingdoms to look after, three of which are in rebellion".
In a pre-credit sequence we join the surviving Nights Watch men after an attack from the White Walkers. They declare their loyalty to protecting the seven kingdoms and vow to return to the wall, to warn of the dangers approaching with winter's arrival. After being captured by the Wildlings, Jon Snow is taken to their community (giants and all) and speaks to Mance Rayder, their king. After a startling discovery at the wall in which Craster fed a baby to a White Walker, Jon pledges his loyalty to the Wildlings, wishing to "fight for the right side". Queue title sequence and Ramin Djawadi's instantly recognisable score. We're back.
King's Landing is severely affected after the war. First on a literal level, as surrounding scenery is masked with development and construction, whilst bodies (victim of wildfire) wash up on shore. Second on an emotional and personal level. Joffrey Baratheon is hated more than ever (although perhaps soon to be salvaged thanks to Margaery Tyrell's charitable work) and Tyrion, despite his grand efforts in the war, remains no good to bear the Lannister name. In a wonderfully written and heartbreaking exchange, Tywin Lannister makes this known via discourse of hatred, embarrassment and ridicule. He effectively declares Tyrion to be the bottom rung of the Lannister family and expresses un- paternal wishes. It's to Charles Dance and Peter Dinklage's credit that this scene is so effective. Dance's slurry of venom mixed with Dinklage's pained expressions is a truly captivating moment. Boy how I have missed their presence
Meanwhile, we join Daenerys Targaryen and her dragons at sea, on her mission to build an army. She travels to the city of Astapor to buy an army of trained slave soldiers, known as the 'Unsullied'. So brutal are they, they've killed babies and show no grimace at getting their nipples chopped off. Their stone stature was not as impressive however, as the subtle comedic translated exchange between Daenerys and the army's trainer. Both characters jibe at one another regarding their morals, or lack there of, referring to a recurring theme in Game of Thrones – how low will people stoop resultant from their lust for power?
Whilst in Astapor, an attempted assassination of Daenerys by the warlocks of Qarth fails, and she is saved by Barristan Selmy, the former commander to her father, who pledges his loyalty.
Elsewhere in the episode, we return to Davos, reeling with injuries from the wildfire explosion and mourning the death of his son. He returns to Dragonstone to speak to Stannis Baratheon, only to be locked up after his attack on Melisandre, who appears to have a dark hold over Stannis. Robb Stark continues to travel with his army, wishing to fight the Lannisters. Still angry at his mother for releasing Jamie Lannister (for the safety of Arya and Sana), he expresses his wishes for her to remain locked up. Each of these character tropes remain out of the spotlight this episode, however, leaving depth and focus toward the aforementioned developments of Daenerys and the Lannisters. It is a wise move for this season's opening, as we're taken to the heart of the action and emotion for the time being. As always with Game of Thrones, some story arcs take a while to get going but I have no doubt that it will all be developed brilliantly in due time.
It is worth mentioning the noticeable improvement to the look of the show. To me it felt more vivid, brighter and beautiful. Whilst the majority of additions were CGI, long shots from different locations nevertheless showcased the developments of scenery on a grander scale than seen previously. Game of Thrones is definitely upping its, er... game.
A most impressive return - welcome back Game of Thrones. I've never been so excited for winter.