Game of Thrones – ‘The Pointy End’

VARYS: Ah, the children. It’s always the innocents.

One of the interesting aspects of ‘You Win or You Die’, which I failed to mention in my analysis of that episode, was how the children were completely eliminated from view, at least the younger children who will prove so crucial to the central narrative of Game of Thrones. ‘The Pointy End’ redresses this balance by re-framing the episode from the perspective of a future generation who will shape the future of Westeros, so it is perhaps quite appropriate this is the first script to be written by George R. R. Martin.

Martin is, of course, the creative force behind this entire mythological world. As writer of A Song of Ice and Fire, he has devoted over the last twenty years of his life to the vast, sprawling narrative which began in A Game of Thrones in 1996 and will likely conclude with A Dream of Spring sometime, you would hope, before the Sun exhausts its fuel and the Earth crumbles to dust. Martin is a notoriously slow writer, even for someone putting together such a magnum opus at this – a short A Song of Ice and Fire novel tends to run at around 600-700 pages. Indeed one of the reasons Martin didn’t write an episode of the TV series after Season 4 is precisely because fans were hounding him, day and night, to finish The Winds of Winter, reputedly the penultimate book, which as of writing still remains to be published.

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Game of Thrones – ‘You Win or You Die’

CERSEI: When you play the game of thrones, you either win or you die. There is no middle ground.

If ever you wanted to point to an early episode of Game of Thrones which would serve as a mission statement for the iconic series to come, outside of ‘Winter Is Coming’, you could do worse than point to ‘You Win or You Die’. It is, in many senses of the word, a game-changer. The episode firmly establishes the key, central ideological concept at the very heart of George R.R. Martin’s opus, and it’s one we may already have strongly suspected: we are watching a very powerful and very deadly game in progress.

Though it contains a number of extra elements, ‘You Win or You Die’ can be seen as a clearer successor to ‘The Wolf and the Lion’ than ‘A Golden Crown’ was to the developing narrative. It takes many of the political and Machiavellian ideas established in the fifth episode and builds on them, moving the season firmly toward what would constitute a climactic end game which will play out over the final three episodes, depicting in broad strokes the ending of the book A Game of Thrones and leading very clearly into the adaptation of sequel A Clash of Kings, which will form the basis of the second season. Fates are sealed in this episode with more certainty than they have been for some time, yet the majority of what happens feels inevitable. David Benioff & D.B. Weiss’ script simply brings into focus many more thematic concepts that have been gestating since the season began.

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Game of Thrones – ‘The Wolf and the Lion’

NED STARK: “Jon was a man of peace. He was Hand for seventeen years, seventeen good years. Why kill him?”
VARYS: “He started asking questions.”

Halfway into the first season of Game of Thrones and establishment is beginning to give way to narrative momentum. ‘The Wolf and the Lion’ may not, on the face of it, be as action-packed as some of the previous episodes, and certainly not many of those to come, but in many respects it serves as the lynchpin of the first season and the core of David Benioff & D.B. Weiss’ adaptation so far. Once again, the title says it all. Wolf and Lion. Stark and Lannister. The Dragon will form the culmination of this triptych, but not yet. We don’t see any sign of a Targaryen at any point in this episode.

That doesn’t mean, of course, they are not central and crucial to the conversations and conspiracies swirling around King’s Landing. We spend more time in the Westeros capital in this episode than we have in any other, principally because Benioff & Weiss are beginning to pull the threads of George R.R. Martin’s novel ‘A Game of Thrones’ which lead directly to his next book, ‘A Clash of Kings’, which would form the basis of the second season of the show.

At this stage, their adaptation is faithful. The majority of beats are being followed, characters being established, and storylines being developed, with the odd exception of creative license for television purposes; Littlefinger & Varys’ sparring, the much lauded scene between Robert Baratheon & Cersei Lannister for example, or bulking out the homosexual relationship between Ser Loras Tyrell & Renly Baratheon, more suggested in Martin’s novels.

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Game of Thrones – (Series Overview + Reviews)

Game of Thrones changed television. Not many TV shows can say that but Game of Thrones, unequivocally, can. There had never been a show quite like it in terms of scope, grandeur, ambition and ultimately international commercial and critical success. It broke the mould.

George R. R. Martin first began writing his long-form, magnum opus of novels, known collectively as A Song of Ice and Fire, over twenty years ago before the publication of his first, A Game of Thrones, in 1996. Set in a fictional fantasy world, primarily on a continent known as Westeros, Martin’s prose was at times pulpy and ripe but his reach was astonishing; taking more than a cue from Tolkien, Robert Jordan and Frank Herbert among others, Martin swiftly created a vibrant fantasy world with an incredible amount of detail and depth lurking behind a complicated, exciting and layered narrative.

Despite the roughly five year gap between publication of Martin’s tomes (seriously, the lighter A Song of Ice and Fire novels clocks in at around 800 pages), production companies soon came sniffing around Martin looking to adapt his books into a feature film. Quite understandably, Martin soon made the point that doing A Song of Ice and Fire as a movie would be nigh on impossible, explaining how just one of his books is longer than The Lord of the Rings, which itself was adapted into three enormous movies by Peter Jackson. The scope was just too large. It belonged on TV.

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