It’s the second Boiled Leather podcast to drop today! In the latest installment of our Best of ASOIAF series, Stefan and I take a look at the inspiration for next month’s A Knight of the Seven Kingdoms, “The Hedge Knight” — available here or wherever you get your podcasts!

Wanna hear me read the prophecy section of the House of the Undying aloud? Wanna hear me and my illustrious co-host Stefan Sasse then talk about everything BUT the meaning of the prophecies? The Best of ASOIAF series continues with a look at one of the most momentous and talked-about chapters of the entire saga on the new episode of the Boiled Leather Audio Hour, available anywhere podcasts are!

I’ve waited for years to announce this: The complete Boiled Leather Audio Hour archives — over 200 episodes dating back to 2011 — are now available wherever you get your podcasts!

Dive into fourteen years of analysis of A Song of Ice and Fire, Game of Thrones, House of the Dragon; wide-ranging discussions about SFF literature, television, and cinema driven by our resident critic, Sean T. Collins; history and politics coverage spearheaded by our resident historian, Stefan Sasse; countless special guests, including Game of Thrones writer Bryan Cogman, New York Times columnist Jamelle Bouie, acclaimed horror novelist Gretchen Felker-Martin, big names from throughout the ASOIAF fandom, and much more!

Friends, one of the perils of being the longest-running ASOIAF podcast on the internet is that much of our infrastructure was set up years ago, making updating it a real challenge. Until now, only the 20 most recent BLAH episodes were available at any given time via podcasting apps, and you had to dig through our download archives manually if you wanted more. We’ve hunted for a fix for years, hiring professionals and everything, so of course in the end it was something unbelievably simple that everyone had just somehow failed to catch. Ain’t technology grand?

Be that as it may! I could not be more thrilled than to present to you what has become one of my life’s great efforts and achievements. Endless thanks to Andrew Fulton for the miracle work, and of course to my illustrious cohost, Stefan Sasse, without whose herculean efforts and effortless command of countless topics this podcast would have ceased to exist long ago. This is for you, buddy.

And it’s for all of you who’ve ever listened, or ever been curious about listening. Please spread the word far and wide in the fandom: There’s never been a better time for BLAH! BOILED LEATHER FOREVER

art by the mighty Julia Gfrörer

In the new episode of the Boiled Leather Audio Hour, the longest running GRRM/GoT/HotD podcast on the internet, Stefan and I continue our Best of ASOIAF series with the Battle of the Whispering Wood! I read the whole thing aloud! Available at our Patreon or wherever you find podcasts!

The Boiled Leather Audio Hour is back! For our 200th episode (!!!), Stefan and I tackle the big one: The Red Wedding. The longest-running A Song of Ice and Fire podcast on the internet, baby! Listen here or wherever you get your podcasts!

Stefan and I take on the eighth and final episode of House of the Dragon Season 2 in our eighth and final weekly HotD BLAH! Listen here or wherever podcasts are sold!

Rad: FYI, I didn’t actually watch [Game of Thrones]. I came into House of the Dragon Season 2 kind of cold. With that in mind, Sean, what did you make of the big finale?

Sean: Well, call me old fashioned, but I’m the kind of person who thinks that when a season of a television show builds to a big, epic battle, it should show the big, epic battle. And so for the second time this year — first with Shōgun, and now with House of the Dragon — I wound up being kind of disappointed by the end. But I understand why they made the decision that they made.

Even a show like House of the Dragon has a limited budget, and doing all those effects-intensive dragon sequences costs a lot of money and takes a lot of time. They had a shorter season than they had the first time around; I’d imagine that changed the rhythm around a bit. It’s not maybe how I would have emphasized things towards the end, but I thought that as an episode it was so effective at building that tension. It was almost like a victim of its own success — like, if I hadn’t been so invested in all those fights happening, I wouldn’t have felt so disappointed. So in that way, it worked.

Variety tv critic Alison Herman and I appeared on Commotion on CBC yesterday to discuss the House of the Dragon finale. We both liked it! Click here to read some of the discussion and find links to watch/listen to the whole thing.

Going from Raised by Wolves to a juggernaut like House of the Dragon — was stepping into this production noticeably different?
Yeah. There’s a feeling of it having already been stabilized: This is an IP that exists, it has its own universe, its own rules, a structure. With Raised by Wolves, it felt we had a lot more to prove; we’re bringing people into this new world. Whereas Game of Thrones had many years to establish the groundwork.

But there was a security in that, a safety in knowing the world I’m dancing in. That was the big thing for me. It felt like, Oh, okay, I know what’s happening here.

I’m sorry, but I just have to fanboy out about Raised by Wolves for a second.
No, no, that’s grand! I’m so sad it didn’t come to fruition for the third season. We had something really cool cooking, and it was just heartbreaking, man. I’m so determined to figure out a way to get that story told in some way, shape, or form. But we’ll see. Give it time.

I interviewed Abubakar Salim about his work as Alyn of Hull on House of the Dragon for Vulture, and yes, I asked him about Raised by Wolves, duhh.

Chekhov warned writers against placing just one gun on the mantel without firing it by the end, let alone a dozen. In its second season finale, “House of the Dragon” calls Chekhov’s bluff 11 times over.

Vhagar, Dreamfyre, Syrax, Vermax, Vermithor, Caraxes, Seasmoke, Silverwing, Moondancer and the newcomers Sheepstealer and Tessarion: These are the living dragons introduced thus far, all available — theoretically, anyway — to take part in hostilities when the episode begins. (Aegon pronounces his dragon, Sunfyre, dead, so that takes him out of the action; more on Sheepstealer and Tessarion later.) Eleven beasts locked and loaded, and not a single one fired when the closing credits roll.

True, Vhagar torches a town off-camera at Aemond’s command, a horrific crime that shocks both the Black and Green camps. Still, the entire episode — the entire season — builds to a conflagration that never arrives. Even the abundance of dragons soaring together in the opening credits’ tapestry feels like a bait and switch.

That final cut to black knocked the wind out of my sails. Unfortunately, the episode is so good at building tension and anticipation for the three-front war on the horizon that it becomes a victim of its own success when the action doesn’t arrive.

I reviewed the season finale of House of the Dragon for the New York Times. (Gift link!)

Before Season 2 of “House of the Dragon” began in mid-June, HBO hadn’t released a new episode for about two years; so with the premiere days away, we published a guide to the show’s sprawling cast.

Seven episodes later, much has changed. Westeros is divided by a civil war between the Blacks, who support Rhaenyra Targaryen’s claim to the throne, and the Greens, who support her half brother Aegon’s. Characters have died, been maimed or disappeared. Meanwhile, the common people — known in the show’s parlance as smallfolk — have played an increasingly large role, adding several new faces to the show. It seemed like time for an update.

Whether you’ve picked sides or simply want to catch up in time for the Sunday season finale, here is a look at the major players now.

I updated my guide to the cast of House of the Dragon for the New York Times. It’s a gift link!

Speaking personally, I think this week’s episode of BLAH, on this week’s episode of House of the Dragon, is one of the best we’ve ever recorded in almost 13 years of podcasting. Listen and decide for yourself, here or wherever you get your podcasts!

In Sunday’s episode, Queen Rhaenyra, played by Emma D’Arcy, recruits commoners of noble blood — the illegitimate children of Targaryen royals, known as dragonseeds — to see if these dragons will accept them as riders, in order to expand her army. Most die in fiery agony, but an unassuming barfly named Ulf claims Silverwing.

“I worked out quite quickly that Silverwing is one of the kinder dragons and, I believe, the most beautiful,” said Tom Bennett, who plays Ulf. His performance is different as a result: “It’s the first time you ever get to see someone flying a dragon laughing.”

Vermithor was something else, said Kieran Bew, who plays a commanding blacksmith named Hugh. The significance of the character, who has been seen throughout the season, is revealed when he claims the ill-tempered dragon.

“We talked about how Vermithor is the Bronze Fury — an angry dragon,” he said. “From a performance perspective, knowing that leads to the choices Hugh makes during the claiming. You’ve got to make yourself big, man.”

I talked to showrunner Ryan Condal, VFX supervisor Daði Einarsson, and actors Clinton Liberty, Tom Bennett, and Kieran Bew about how House of the Dragon creates its dragons for the New York Times.

Elsewhere in the realm, Rhaenyra’s husband, Daemon, has other matters on his mind. (His daughter Rhaena, coincidentally, is off in the Vale on a dragon hunt of her own.) Oscar Tully (a commanding Archie Barnes), the teenage lord paramount of the pivotal Riverlands region, has come to Harrenhal with all his vassals for an audience with the self-appointed king. Daemon thinks this will be a simple matter of cowing a kid, then getting him to cow all the lords and ladies sworn to follow him.

But Lord Oscar is made of sterner stuff. Risking death by dragonfire, the kid dog-walks Daemon in front of all the Riverlords — proclaiming openly his dislike of the man, calling his conduct reprehensible and generally declaring him an unfit representative for a just cause. Finally, Oscar forces Daemon to execute one of his own loyal lords for war crimes if he wants the others’ help at all. Daemon glowers and fumes and … then does what he is told.

On the very day that he is brought to heel by a green boy who better understands politics than he does, Daemon is visited in a vision once again by his brother, King Viserys, maimed and deformed as he was in his dying days. Viserys holds his golden crown in his hands, telling his brother of its crushing weight, of the endless pain it causes.

“You always wanted it, Daemon,” the dream-king says. “Do you want it still?” For the first time since the show began, it feels as if the answer may be no.

I reviewed this week’s episode of House of the Dragon for the New York Times.

Stefan and I discuss this week’s ep of House of the Dragon on the longest-running A Song of Ice and Fire podcast still alive and kicking—available here or wherever you get your podcasts!

The hug lasts 45 seconds before they kiss. Yes, I counted. In the terms of that episode of “Curb Your Enthusiasm” where Larry hugs Auntie Rae for a little too long, it’s nine “five Mississippi”s. And like any long, drawn-out take on this densely packed show, it stops everything in its tracks.

For three quarters of a minute, we watch empathy, respect, gratitude, warmth, heat, curiosity, desire and, finally, passion all play out in the silent embrace between Queen Rhaenyra and her friend and counselor Mysaria. For the first time in their lives, each of these two very different people has found somebody she sees as an equal, and who sees her as an equal in turn, and the thought quickly goes from comforting to intoxicating. Dragons are flying, men are burning, reigns are teetering, but for as long as that embrace lasts, the world of “House of the Dragon” exists between these two women’s arms.

I reviewed tonight’s episode of House of the Dragon

The new episode of the Boiled Leather Audio Hour on House of the Dragon 2×05 is up! Listen here or wherever you get your podcasts!

In his series of epic fantasy novels A Song of Ice and Fire, the author George R.R. Martin has based a trio of men-at-arms on Curly, Moe and Larry, the Three Stooges. He has used the superheroes Blue Beetle and Green Arrow as the basis for noble houses’ emblematic sigils. During the events depicted in “House of the Dragon,” the important House Tully is variously ruled over by Lords Grover, Elmo, and Kermit, with a Ser Oscar thrown in for good measure, as if “Sesame Street” had come to the Seven Kingdoms.

So do I think it’s possible that in his book “Fire and Blood,” the basis of “House of the Dragon,” Martin put Prince Aemond Targaryen in control of Westeros just as a cheeky way to illustrate the maxim “In the land of the blind, the one-eyed man is king”? I wouldn’t put it past him.

I reviewed tonight’s episode of House of the Dragon for the New York Times.

The new Boiled Leather Audio Hour episode is out! Guest co-host Gretchen Felker-Martin and I talk about the big dragon battle episode of House of the Dragon, available here or wherever free podcasts are sold!

The new Boiled Leather Audio Hour episode is out! Guest co-host Gretchen Felker-Martin and I talk about the big dragon battle episode of House of the Dragon, available here or wherever free podcasts are sold!

From its sobriquet on down, George R.R. Martin’s World of Ice and Fire is largely a bipolar one. Blacks fight Greens. Starks fight Lannisters. And in the prophetic Song of Ice and Fire itself, death wars against life.

The dragons flown by the Targaryen dynasty are an exception to this rule. In the source novels, various maesters and royals speculate that dragons are neither male nor female, capable of switching sexes as needed. True, they are the fire that helps turn back the ice of the Night King and his undead minions in “Game of Thrones,” and the most magnificent and awe-inspiring living creatures in the Westerosi bestiary. But they are also death incarnate, capable of inflicting carnage amid soldiers and civilians alike at an industrial scale.

And if need be, they can be called upon to kill one another, in battles as brutal as they are beautiful. There is a reason scholars within Martin’s fictional universe refer to the Targaryen civil war as the Dance of the Dragons: The conflict is as rapturous to behold as it is repugnant, often in the same scene.

I reviewed tonight’s incredible episode of House of the Dragon for the New York Times.