Game of Thrones’ penultimate season has rocketed along from place to place, person to person, long-awaited meeting to long-dreaded conflagration for all seven of its episodes. That pace has thrown some viewers off balance. But in these final moments, the purpose becomes clear: This story, this world, has been hurtling toward a point of no return. We’ve now reached that point. The lies, betrayals, power plays, and murders we’ve witnessed for seven years, and which still continue in this episode – they are all a distraction. We’re all in this together, and we’d better realize it ASAP. Is there a more urgent message for all of us to hear at this moment?

I reviewed the finale of Game of Thrones Season Seven, which I enjoyed a great deal, for Vulture.

Moment 09 | Escaping the Cycle of Violence

This month’s BLAM question comes to us from $10/month patreon subscriber Tim Westmyer, and it’s a great one. Using Brienne, Jaime, Tyrion, Sansa, and Arya as test cases and the Hound as (for now) a successful example, Tim asks which characters will escape the story’s cycle of violence and vengeance and find some peace after all is said and done. We go broad, we go specific, and we do it all in eight minutes and change — an ideal Boiled Leather Audio Moment. Click here and pledge at the $2/month level to listen! And remember, if you have a question for Sean & Stefan to answer in a future BLAM, subscribe at $5/month, or bump it up to $10 for the priority treatment!

People like to nitpick on Twitter, obviously, and a lot of the focus of discussion about the episode was stuff like, “How did he throw the spear that far? Why didn’t he throw it before? How did Jon not die of hypothermia?” As a filmmaker, do you prepare for that kind of response?

Yes. We really do care about believability. There’s a tremendous amount of work that goes into making the dragons as believable as possible. It’s funny: The most unbelievable things, like lizards as big as 747s that can throw flames, people don’t have any concerns about the reality of that. It’s the smaller things that people get hung up on. I don’t dismiss it, because it’s important for us to tell the story in a way that that doesn’t get in the way for too many people. I have no problem with the way the Night King throws his spear, and the fact that it does kill a dragon and knocks it out of the sky. I think that’s fine. I think haggling over that is ridiculous. I get people’s time-frame concerns — you know, “Gendry must be running really fast! The ravens must be flying really fast!” [Laughs.]

I think if the show was struggling, it would be a drag to have people getting distracted by this stuff, but obviously the show’s doing pretty well, and it’s working. So when things like this come along, they’re plausible impossibilities. You’re hoping that even if something doesn’t quite add up, if it works within the story for us, it can carry the day. So for me, I think we were aware of the time thing, and I was thinking, Okay, if you say that Gendry is really fast, which I’m willing to say, and if you say ravens are super good at what they do, which I think you can say, and if you say the time on the island is a bit hazy because it’s an eternal twilight up there north of the Wall, so we’re not really sure how much time has passed, that’s an episode where the calculation of minutes fades away and you just sort of enjoy the story. But I did read one review where the guy got his calculator out and he could not get over the raven-speed. [Laughs.]

I interviewed “Beyond the Wall” director Alan Taylor about returning to Game of Thrones, the Sansa and Arya scenes, the big battle, the logistical issues, and more for Vulture. I think I got a lot of good stuff out of him and I hope you enjoy it.

2. Battle of the Bastards, “Battle of the Bastards” (Season 6, Episode 9)

Ramsay Bolton got his comeuppance, Rickon Stark’s short life came to an end, Wun Wun the giant went out in a blaze of glory, Sansa Stark pulled Jon’s ass from the fire, House Stark recaptured Winterfell after years in the wilderness: You know all the details about season six’s climactic confrontation. But it’s the visual component of the Battle of the Bastards that makes it so memorable. At one point, the fighting between Jon and Ramsay’s forces was so horrific that the dead bodies piled up into a literal pile — a physical obstacle that the fighters had to climb above or drown beneath. Every speech Jon or Davos ever made about the folly of fighting each other was made real in this moment, which turned the mass murder of warfare into an actual geographical feature of the battle. It was a moment of macabre beauty, power, and tragedy.

I ranked ten of the biggest battles in Game of Thrones history for Vulture. The Number One choice may surprise you!

Yet for all the majestic melancholy of watching that graceful, terrifying behemoth fall to earth, there was something strangely antiseptic about the battle between the living and the dead around which this episode centers. No one in their right mind would deny the power of watching Dany’s dragons torch zombies by the thousands. Or the visceral thrill of seeing seasoned warriors like Jon, Tormund, Jorah and the Hound go toe to toe with the undead. Or the romance of watching the King in the North swallow his pride and swear allegiance to his new Queen, the Khaleesi. Or even the simple pleasures of hearing this makeshift Winterfell Magnificent Seven swap war stories.

But compared to all of Game of Thrones‘ set-piece battles before now, something was missing. Unlike past episodes featuring show-stopping showdowns and stand-offs – think “Blackwater,” “The Watchers on the Wall,” “The Battle of the Bastards” – this was not a demonstration of the gruesome futility of man’s inhumanity to man. And unlike the still-shocking best-of-show chapter “Hardhome,” there was no sense that this was a completely unexpected cataclysm in which life itself was under threat. This was just seven main characters and a bunch of redshirts against an improbably patient and inefficient swarm of zombies, who let nearly every one of our protagonists (Thoros of Myr and the aforementioned dragon excepted) escape with their lives. Even Snow himself dodged certain death when his undead Uncle Benjen appeared, just long enough to hold off the onslaught until his nephew could flee.

But perhaps there’s more to this battle than meets the eye. Sure, Jon and company survived seemingly impossible odds (how many days were they out there on that rock in the middle of the lake, anyway?). But maybe that’s the point. The closer we draw to the endgame, the more openly epic the story is going to get. This doesn’t just mean that the human-on-human battles that have dominated the series’ warfare will now give way to dragon-vs.-demon conflicts. It means that the same magic that fuels those winged creatures’ fire, keeps the walking dead moving and brought Lord Snow back from the Great Beyond will drive the narrative as well. The wheels of fate and the power of prophecy are becoming prime movers. In some cases, they may even supplant the show’s message about the folly and cruelty of war.

In that light, how the King in the North survived his dip into those icy, zombie-filled waters is less important than the simple fact that he survived. As his fellow resurrected warrior Beric Dondarrion put it, the Lord of Light didn’t bring them back to life “to watch us freeze to death.” The regent has a date with destiny. That time has not yet come.

Similar forces are at work in the budding romance between Jon and Daenerys. The two rulers – and the actors who play them – certainly have chemistry to burn. But love and lust share equal billing with pure providence. These two are meant to be together and they know it, however confusing it may be.

I reviewed tonight’s episode of Game of Thrones, where the drama rubber met the destiny road, for Rolling Stone. As you can see, I have mixed feelings about it, but I also think the Night King’s most sinister power is turning everyone who posts about this show online into TVTropes.

If you look at what’s happening in King’s Landing, it seems like Jaime’s gotten everything he wants. They’re in charge, they can be open about their relationship, they can be open about their new child. But in the scene where Cersei tells him she’s pregnant, it’s so deeply unpleasant to watch them interact.

It was very unpleasant. You know this is not a good situation. I mean, I don’t think these people should have any more children!

Jaime knows that this is not necessarily great as well. But if this dream is the one thing you want more than anything your whole life, you can’t help yourself. He experienced it for a second with Myrcella — what it felt like to be a father and have his daughter tell him that she’s happy that he was her dad — but it was taken away from him the second after. Now, the idea that you don’t have to live a lie, you can have a son or daughter and this can be beautiful, he forgets the reality of their situation and he’s happy.

But only for a second. After that, Cersei has to go all Darth Vader and say, “Don’t ever betray me again.” Which is dark. It doesn’t make sense, because he didn’t betray her. He actually came to her and told her about it as soon as he got back. But maybe that’s just because she’s paranoid.

Jaime’s certainly aware of the dangers in both Daenerys and Cersei, and his formative experience as a young man was murdering a king to stop him from burning thousands of innocent people to death. Things haven’t quite gotten to that point, but he’s got to be reliving that, right?

I think there’s a difference between the Mad King and Cersei. What Cersei did was a lot more specific and calculated, and it was aimed at her enemies. The Mad King was just going to take out everyone, and he felt he was going to be able to rise from the ashes as Daenerys did. When Cersei killed the Tyrells and the High Sparrow, it was very gruesome, tough thing she did, but it was very Red Wedding–style. She took out the people who wanted her dead, and she took them out in one ball of flames, but she didn’t take out the whole city. So there is a difference. I’m not justifying it, but I’m saying there’s a difference.

I think that what Jaime just witnessed with Daenerys is more than frightening. He knows that if she goes to King’s Landing with three dragons, when he’s seen what she does with only one, that will be the end of it. He knows that there is no way that they can fight back, or at least they’d need a hundred scorpions. It would just be very difficult.

I was thrilled to speak with Nikolaj Coster-Waldau about Jaime Lannister for the first time in many years for Vulture. He and I also talked about his new prison movie, Shot Caller, which is worth a look.

Bronn’s charm has completely won me over, but he still has a touch of that dark side in him. Like, after the battle where he took a shot at Dany’s dragon, my sister texted me and said, “Am I the only one who was rooting for Daenerys? Bronn’s an ass.”

[Laughs.] Well, I suppose it’s like any good writing, like with Shakespeare. I just try to keep him Bronn, which is a nice journey to roll with, and I give myself over to what he gives himself to. If I was trying to play him dark or anything, I’d just be playing what’s coming through.

When I auditioned for the part, I had no idea what sort of show it was going to be, or even what it was. I hadn’t read any of the books. But there was something in the writing that came through. I couldn’t ignore his sense of humor, these different sides to him, and how he does what he needs to do. The dragon annihilated thousands of soldiers — he had to do something, didn’t he? There was a lot on the line.

It’s amazing. I was just talking to George before this — people’s responses have been quite extreme. The thing about this season is that all these characters are coming together. It’s been easier to separate them before, but suddenly they’re in conflict. People who like Bronn also love Daenerys and the dragons. My postman doesn’t speak to me anymore because of that! [Laughs.] So it’s gonna happen, isn’t it? That’s Bronn. That’s true Bronn. That position he got himself in is a combination of courage, doing what he has to do, and looking after number one. And that’s what makes people love him: He’s so honest! It’s interesting when it comes to dragons and Daenerys, because that’s sacred territory.

I interviewed the marvelous Jerome Flynn about Bronn’s recent doings on Game of Thrones for Vulture.

The sprawl, the spectacle, the sex, the swords, the sorcery—if you’re looking for reasons why Game of Thrones has become the most popular show on TV, they’re easy to find. But the epic fantasy might also be pop culture’s most prominent anti-war satire since Dr. Strangelove. It’s one long shaggy dog joke at the expense of military conflict. For the bulk of its six-plus seasons, Game of Thrones has chronicled the bloody power struggles of various aristocrats and their hapless followers—while, unbeknownst to most, an army of demons and zombies in the icy northern wastes masses to swoop down and slaughter them all. The wars making up most of the series’ action are not only pointless, but self-defeating: The only enemy these characters need to be fighting is a supernatural one.

Somehow this lesson is often missed, both by moralists who find the series’ violence exploitative and “bad fans” (as The New Yorker’s  Emily Nussbaum calls them) in it for the beheadings. Perhaps it’s the simplicity of the conceit that hides the anti-war message in plain sight. Or maybe it’s the show’s unflinching depiction of man’s inhumanity to man that enables viewers to confuse portraying violence with endorsing it.

Yet the show has been true to the approach of George R. R. Martin, author of the novels on which the show is based and a conscientious objector during America’s assault on Vietnam. As Martin said in a 2012 interview, he does not shy away from capturing the “emotional stirring we feel when we see the banner flying in the wind and we hear the bugles charge”—which, “those of us who are opposed to war … tend to forget.” However, he noted, “If you’re going to write about war and violence, show the cost. Show how ugly it is. Show both sides of it.”

I’m thrilled to make my debut at In These Times with an essay on the anti-war message of Game of Thrones.

But for all the awe-inspiring imagery and white-knuckle tension, this is still a show that allows its actors to do the storytelling. There were almost too many intimate moments to list, but seven hells, we’ll try: There’s the way Lord Randyll Tarly reached out to hold his son Dickon’s arm, one last act of fatherly love before their fiery execution. There’s the tears in Jon Snow’s eyes as he touched Dany’s dragon, moved by its power. There’s the more or less open attraction these two rulers now have for another, visible to everyone from Tyrion to Jorah Mormont whenever the regents exchange so much as a glance. There’s the eerie, dead-eyed look Cersei shoots Jaime when he tells her he met with their little brother, and their embrace when the Queen tells the Kinglsayer she’s pregnant. There’s the villainous smirk of Littlefinger as he makes his moves, contrasted against the bright-eyed self-confidence of Arya Stark as she works to uncover them. And there’s the mix of regret and rage on Samwell Tarly’s face as he departs the Citadel, sacrificing his dreams for the greater good.

(By the way, Sam: When Gilly tells you that a maester annulled the marriage of Prince Rhaegar Targaryen so he could marry someone else in a secret ceremony in the same kingdom where Jon was born [cough, cough], you might want to listen!)

If there’s a bridge to be found between the massive political forces at work and these smaller, more personal connections, it’s in the episode’s closing sequence. The assembly of Jon Snow, Jorah Mormont, Tormund Giantsbane, Gendry, Beric Dondarrion, Thoros of Myr and Sandor Clegane – and their transformation into the anti-zombie Magnificent Seven – is simply a smaller version of what the Mother of Dragons and the King in the North hope to do on a larger scale. Seeing this dream team of Westerosi tough guys walk off into the frozen no man’s land beyond the Wall is epic fantasy at its most heroic.

But it’s also more than that. The crimes and betrayals these men have committed don’t matter at all compared to the menace that is the army of the dead.The mystically minded Beric has it right when he says that no matter their beliefs or their reason for fighting, they’re all on the same side, for the same reason: the common struggle of humanity against the forces that would destroy us all. Solidarity forever – their union makes them strong.

I reviewed last night’s lovely episode of Game of Thrones for Rolling Stone.

Sean T. Collins: Near the end of the battle, there’s a shot of two white horses who are hitched to a wagon that’s on fire. They’re desperately trying to run away from it, but of course they’re attached to it and can’t. Both the audience and some of the characters watch it happen. It really got to me, and a lot of other people too. What was the origin of that image?

Matt Shakman: We wanted something that was iconic and that could fit in the “all is lost” moment, something that really helped tell the story of the horrors of war, and something that could unite Tyrion and Jaime. Both of them are looking at the same image at the same time; it helps you understand where they are in the battlefield in relationship to each other, and that they’re both having the same experience as the potential end of the Lannisters is happening in front of them.

A few years ago [in season five’s ninth episode, “The Dance of Dragons”] there was the burning horse in Stannis’ camp. It’s quite a horrific image, as the horse runs by fully on fire. We talked about images like that. But then it became more compelling to do this idea of a wagon on fire, with the horses fleeing even as they’re still tethered to it. You have this idea of the wagon train that was supposed to be orderly and safe and heading to King’s Landing — now here it is, off in the wild, dragging flames behind it. I felt like it was a pretty good image to tell the story of the horror of that moment.

I interviewed director Matt Shakman about filming the battle sequence in this week’s Game of Thrones, “The Spoils of War,” for Vulture. Fun fact: Shakman also directed “Mystery Date,” the episode that kicked off Mad Men’s run of back-to-back-to-back-to-back-to-back masterpieces during Season Five.

Ice? Check. Fire? Check. Thrones? You bet. Game? Not anymore.

After last night’s incendiary hour, Game of Thrones‘ shorter but still stunning Season Seven is now just past the halfway mark, and the stakes couldn’t be higher. The once-sprawling story is down to just three major factions now: King Jon Snow in the North,; Queen Cersei Lannister in the South; and Daenerys Targaryen, a.k.a. the Mother of Dragons,  on her native soil for the first time since her birth. The battles that followed eliminated entire houses and unleashed fire and blood on an unprecedented scale. Meanwhile, the White Walkers are prepping their own assault on Westeros – and if the war between humans continues, that attack will be impossible to resist.

In this status report that catches you up on all the major players, you’ll find the intel you need to prepare for the four episodes that remain … and the winter that’s about to hit.

I wrote a quick and dirty rundown of the events of Game of Thrones’ season so far for Rolling Stone.

In “The Spoils of War,” these irresolvable conflicts get cranked up to an even more unbearable level. Jaime is a repentant villain deep into his redemption arc. Bronn is a mercenary who won over characters and audience alike with his wit and wisdom. Dany is a messianic conqueror who’s saved countless lives; the very existence of her her magical beast Drogon is a miracle. How can anyone feel comfortable choosing sides? Sure, House Lannister are clearly the heels in this war, but a victory that reduces beloved characters to ash would be impossible to enjoy.

Writers creators David Benioff and D.B. Weiss and director Matt Shakman offer us precious little shelter from the zero-sum nature of this bloody game. Twice, they stage one-on-one conflicts between the major characters: First when Bronn stares down the beast with his massive “scorpion” crossbow; then when Jaime grabs a spear and charges the Khaleesi. These are shout-at-the-screen, cower-on-your-couch moments. Even though it appears everyone involved makes it out alive both times, it’s to the filmmakers’ credit that you feel inches away from the death of a credit-topping character during every second of screen time.

And if you’re afraid, hey, you’re not the only one. After all, nothing sells the menace of the horselords – their tactics based on the real-world Mongols, who cut through armies from China and India to Iraq and Eastern Europe like a hot knife through butter – or the shock-and-awe power of Dany’s pet monsters like seeing seasoned warriors like Jaime, Bronn, and Randyll Tarly (Sam’s tough-as-nails dad) scared completely shitless for minutes on end. It’s so rare for actor Jerome Flynn look anything but cocksure on this show that his panic during the assault should come with a trigger warning. Meanwhile, Nikolaj Coster-Waldau has long been an undervalued member of the cast, but he powerfully conveys the Kingslayer’s terror, horror, and grief at watching his men get massacred. When he makes that almost-sure-to-be-fatal suicide run on Daenerys, it feels as much like his version of “suicide by cop” as a last-ditch effort to save the day.

I reviewed last night’s excellent episode of Game of Thrones for Rolling Stone.

Azor Ahai a Hound? (A Patreon Production)

The Pooch Who Was Promised! In this episode of the Boiled Leather Audio Hour, Sean & Stefan respond to the request of one of our $50-a-month Patreon subscribers, Ryan, to evaluate the odds that Azor Ahai Reborn is none other than Sandor “The Hound” Clegane. Working with material from both the books and the show, the illustrious co-hosts branch out from there to discuss the nature of this pivotal prophecy itself, their own preferred candidates for the messianic role, and what qualities we should look for in a savior. Hmm, is that salt and smoke in the air?

DOWNLOAD EPISODE 65

A Wiki of Ice and Fire’s Azor Ahai rundown.

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Game of Thrones sends a message. You can focus on worldly, bloody matters like revenge. Or you can make the leap of faith and focus on the lives of your fellow human beings. “People’s minds aren’t made for problems that large,” Tyrion frets. Almost in response, Bran Stark tells his sister “I can see everything that’s ever happened to everyone” — a mystical callback to the far more self-interested seven-dimensional-chess advice Sansa’s advisor Littlefinger gave her. Seek triumph, and you’re merely a killer. Seek solidarity, and … well, that’s not quite clear yet. But if winter is here, which of the two would you count on to turn back the cold?

I reviewed last night’s Game of Thrones for Rolling Stone.

Grey Worm was reluctant to take off his clothes, but Missandei insisted, saying, “I want to see you.” It reminded me of a line from one of the show’s other most romantic scenes, when Jon Snow and Ygritte are in the cave in season three and she tells him, “I want you to see me.” They both demonstrate that when you take your clothes off in front of someone you care about, it’s not just about turning them on. It’s vulnerable.

It is. In fact, it’s a trust thing too: I want to see you, and I want you to see me in my most vulnerable state. I’m scared, but I’m here. It’s the most vulnerable place you can put yourself, essentially. And I think this is a unique thing. Everyone knows that intimacy can be so scary when it’s someone you care about, but it’s especially so for Grey Worm, because he’s in a unique situation with his mutilation. His letting her take his clothes off is such a huge deal, because he probably never considered himself able to be intimate or a lover for any woman. The fact that he loves her is huge for her. It just shows how true their connection is. It’s a really beautiful thing.

A lot of people just focus on the mechanical nature of consummating their love. I think people have to stop and consider what consummating their love entails for these two characters, because of the fact that Grey Worm has that injury. People consider the anatomy of it and the mechanical nature of it, so they forget the emotional weight of it for these two characters — to be that vulnerable with each other, considering where they came from. Grey Worm has the obvious situation of having been castrated. And Missandei touching a man out of love and care, and with intimacy … no doubt, from where she’s come from, any sexual contact she’s had has been forced upon her. So for them, this is a huge moment. Almost like they’re essentially doing it for the first time, like they’re virgins exploring each other’s bodies. It’s a huge thing.

It’s not to say that what they do physically is unimportant, but the real consummation of their love is, as you say, seeing each other.

It’s almost not physical, which is so lovely about it.

I was very happy to speak with Nathalie Emmanuel about Missandei and Grey Worm’s love scene in the most recent episode of Game of Thrones for Vulture.

Back in the Citadel, Sam is continuing to break the rules that stand in the way of doing the right thing, this time by conducting a risky, and extremely disgusting, operation on Ser Jorah Mormont in an attempt to cure his greyscale infection. While Sam’s dad is off playing power politics with Cersei and Jaime, the son he rejected is risking his own life to save a stranger. “The lone wolf dies, but the pack survives” is a Stark saying, but this maester-in-training would no doubt recognize its wisdom.

So would Theon Greyjoy, but the tragedy is he can’t act on it. Sailing south to Dorne with his sister and the Sand Snakes in order to rally their army, he finds himself in the middle of a gruesome, fiery battle with his uncle Euron’s fleet. And when Yara falls into the pirate king’s clutches, his nephew flees rather than fight. It wasn’t long ago that she risked her life in an attempt to rescue him from a different sadistic captor; when the moment comes to return the favor, Theon leaps into the ocean instead. The sadness of it all is written on both siblings’ faces. There’s no neat redemption arc, no valiant sacrifice, no blaze of glory – just a broken man, drifting among the flotsam and jetsam as Euron’s victorious fleet sails away, one more piece of human wreckage. When Tyrion warned Daenerys’s allies against turning the Seven Kingdoms into a slaughterhouse, this is the kind of carnage he had in mind.

I reviewed last night’s surprisingly moving Game of Thrones for Rolling Stone. Theon and Yara, Missandei and Grey Worm, Arya and Hot Pie, Arya and Nymeria — beautiful work.

Before we tackle the big issues, I’ve got to ask: What was in those bedpans?

Well, if you want to re-create human feces onscreen, the best thing to do is to use soaking-wet fruitcake and mold it into the shape of turds. The thing about wet fruitcake is, when you see it for the first time at 6:30 in the morning, it’s fresh. But when you get to 5 in the afternoon and you’ve been shooting all day, and the wet fruitcake has been in the water and under the hot lights all day, it starts to become only slightly less unpleasant than the real thing.

I recently found out, because our producer Bryan Cogman reminded me on Twitter, that while I was shooting that sequence on my own over five days, the rest of the cast were at the Emmys! They were on the red carpet in L.A. while I was on my own in Belfast, dry-heaving and pretending to scrape shit out of the bedpan. The balance is a little bit off here.

You’re like Sam, sacrificing for the greater good.

Yeah, though I was even less happy about it than Sam seemed to be. I totally forgot they were even there! I think they tried to make me forget, and not notice this kind of injustice writ large. [Laughs.]

But no, I needed to be able to shoot that sequence. It was so fragmented in those little five-second shots, so I didn’t get a sense of the overall shape until I saw it all edited together, but I knew it was going to be something special. It’s something that was never quite done on Game of Thrones. We’d never done an edited montage like that. It’s a comic set piece with such a different kind of flavor that it took people by surprise. I love the fact that we are able to take risks, because we do abandon the formula and introduce new elements and styles to it.

I think that’s why people keep coming back. Even after six seasons and 60 hours of TV, you never know quite what to expect. That could be a character dying or a pivotal plot development, or just a funny little montage they weren’t expecting. There’s so much scope to surprise people, and it’s something that Game of Thrones mines very thoroughly, and always has.

I interviewed John Bradley about Samwell Tarly, bravery, morality, and fake poop for Vulture. It’s been a while since I’ve interviewed someone from the show, but my streak of discovering that every single cast member has put a great deal of thought into their character, their performance, and the world they inhabit remains unbroken here.  Anyway, I’m psyched to be speaking to the cast and crew of the show for Vulture throughout the season, just like I did for Rolling Stone back in the day.

“Shall we begin?”

Seven hells, yes! After a longer-than-ever wait between seasons (for a smaller than ever run of episodes) Game of Thrones has returned – and so, for that matter, has. Daenerys Targaryen, heir to Aegon the Conqueror and rightful ruler of the Seven Kingdoms. The Mother of Dragons has finally touched down on her ancestral soil to reclaim what was once hers. The premiere of the show’s more-anxiously-anticipated-than-ever seventh season, entitled “Dragonstone,” concludes with a five-and-a-half minute wordless sequence depicting her arrival at the island fortress that gives the episode its title. When Dany utters those three words and the show smash-cuts to the closing credits, the message is clear: The game is on at last.

Not that the waiting for winter to come was ever boring. If it’s a neatly summarized story you want, one that proceeds neatly from beginning to end with no detours or delays, read a wikipedia article. The fact is that without the preceding six seasons’ many twists and turns, few of this premiere’s many beats would have an iota of their impact.

[…]

Yet despite the cast of dozens (seriously, we haven’t even touched Samwell Tarly‘s bedpan-and-broth montage, or Bran Stark‘s arrival at the Wall), the real protagonist of this episode is the audience. From the very first season’s inuagural scene, we’ve known the White Walkers were coming – and from that season’s parting shot, we knew dragons had been born. For over half a decade we’ve simply waited for the pieces to come together, while countless characters fought and died in ignorance of the big picture. How fitting, then, for this episode to feature not one but two gigantic maps – the boards on which the game of thrones is played. We’re getting closer and closer to the moment when the major players see the whole thing for what it really is.

Indeed, like the small-scale replicas of the Seven Kingdoms studied by Dany and Cersei, “Dragonstone” was the Season One model in miniature. After Arya’s lethal prologue, the main action began with the march of the Night King and his army of zombies, and ended with the arrival of the Mother of Dragons and her reptilian children. The show has essentially scripted our anticipation of this grand convergence from day one – a huge difference from basically every single other great show of the era, which kept audiences guessing at the endgame. Game of Thrones is designed to make us the greatest players of all. We’re finally beginning to reap the rewards.

I reviewed the premiere of Game of Thrones Season Seven for Rolling Stone. 

2. “Hardhome” (Season 5, Episode 8)

Bran Stark’s plunge, Ned Stark’s death, the Red Viper’s skull-crushing, Jon Snow’s assassination – all of them take a back seat to this episodewhen it comes to shocking the entire Game of Thrones audience. With no precedent in George R.R. Martin’s novels, which merely allude to a cataclysm at the titular village without giving us a clue what happened, “Hardhome” stunned book-readers and TV-viewers alike. After an ominous buildup, the armies of the dead descended on Night’s Watch and wildling forces alike in a literal avalanche of walking corpses, guided by the demonic Night King. As Jon Snow sailed away from a legion of zombified humans, the true menace of the White Walkers was made unbearably clear.

I re-ranked the 25 best episodes of Game of Thrones for Rolling Stone.

37. Wun-Wun

He was a giant among men. Literally. Wun-Wun was the only member of his ancient, towering race to survive the wildlings’ battles against White Walkers, Night’s Watchmen and Stannis Baratheon alike – as well as the only one to cross south to supposed safety beyond the Wall. He wound up battling fiercely for the cause of his one-time enemy Jon Snow, giving his life to defeat Ramsay Bolton and defend the North against its many enemies. He may not have been human, but he was one hell of a guy.

I ranked the 40 Best Game of Thrones characters for Rolling Stone. It’s a very different list than it was when I first wrote one of these a few years ago!