Da 5 Bloods
On the Record
I May Destroy You
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Burdened with character and plot reintroductions, "Dark Wings, Dark Words" starts slow before revving up and delving into the real intrigues of the season.
If the opening episode of Season Three of "Game of Thrones" was mostly talking, Episode Two is mostly walking, though it sets a brisk pace and there's a lot to see along the way.
I am bothered when the writers try to shove too many story lines into a single episode, leaving it overburdened and punchless.
Several of the major characters have found a new bestie in this episode, and these first-timers are played by some of our favorite "Oh yeah, that guy!" Brits.
"Dark Wings, Dark Words," catches us up with the remaining characters not featured in the inaugural episode and moves the story forward in a more decided fashion.
Last night, the relentless, unforgiving slog of story reminded me of the Night's Watch's torturous death march toward The Wall.
Natalie Dormer's Margaery, too, is unfolding delightfully as the season progresses. I'd put her on the short list, with Bronn and Tywin, of the characters who've been most improved in the translation from page to screen.
Overall, 'Dark Wings, Dark Words' is an improvement from the first episode, allowing itself to be a little more grandiose with introductions... and very quietly connecting the scenes together with the feminine entities of Westeros.
Her [Marge] seduction of him [Joffrey] ... is among the most memorable, and disturbing, scenes of this young season.
I appreciate the slow burn, though I confess that I thirst for a bit more action now and again.
Lots happened this week. Too much, perhaps?
This episode was mostly talking, and there were no boobies, no dragons, and no one was murdered. But we did get a little bit of gross torture, so that's cool, and fortunately there was plenty of political intrigue.
Game of Thrones is back in fighting shape after a bit of a lull last week as HBO's epic fantasy rose sleepily from its hibernation to reintroduce us to its web of plots, sub-plots, and its myriad characters.