Tormund’s Giantsbane origin story reminded us to laugh. In a final season largely defined by fierce debate and division among fans, the Bryan Cogman–penned “A Knight of the Seven Kingdoms” was a precious unifying force, a collective love letter to the characters who’ve occupied such an outsize place in our hearts and minds for the better part of a decade. It is, as Joff would say, urgent business. In ways both explosive and hushed, this episode is an achievement. The Hound may be able to flee from fire, but Cersei can’t flee from the truth: In dedicating her life to keeping her children safe, she developed something of a habit of putting them in mortal peril. To be fair, kinslaying appears to be in the Lannister blood: Cersei, in one of the show’s most haunting scenes, is on the verge of poisoning Tommen during storytime, dropping her vial only when the saviors arrive. Amid Tyrion’s stunning heroics, the traitorous sword thrust to his face is also a blade to our hearts, awakening us fully and truly to the danger his own family poses to him.
“The dwarf has played his little trick he can only play it once,” Stannis tells his men following Tyrion’s wildfire ploy, but that pyrotechnic brilliance has played in our minds on loop ever since we first saw it bloom, as green and fierce as any dragon.
GAME OF THRONES RINGTONE SERIES
“Fuck the Kingsguard, fuck the city, fuck the king” - but cheers to “Blackwater,” a cinematic-quality experience that redefined not only what was possible from a bottle episode of a series or an hour of Game of Thrones, but from the television medium itself.
After years of languishing out East, Dany finally heads West as the episode concludes, a new Hand by her side, and Greyjoy, Martell, and Tyrell ships in her fleet. She won’t sit comfortably for long, though. But as Littlefinger once said, chaos is a ladder, and Cersei climbs those rungs right to the Iron Throne, crowning herself queen. As always, her miscalculations have grave consequences, in this case her son Tommen’s suicide. Jon isn’t the episode’s only new ruler, though: Cersei channels her inner Aerys, burning her enemies by blowing up the Sept of Baelor in a chillingly choreographed and scored sequence.
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The cut from baby Jon’s face to adult Jon’s face as he’s poised to be named the White Wolf and the King in the North instantly earned its place in the pantheon of shattering TV moments, the rare reveal that not only meets but exceeds expectations and that sparks as many new questions as it just answered. In “The Winds of Winter,” Bran returned to the Tower of Joy to uncover the truth, in so doing providing legions of amateur sleuths and genealogists with the clarity they’d craved for two decades: Jon is not Ned’s son he’s Lyanna’s. Through five of Martin’s novels and 59 episodes of the show that those tomes inspired, the speculation and theorizing surrounding that question fueled an unrivaled shared fan experience. Martin published A Game of Thrones, the first book in his sprawling A Song of Ice and Fire fantasy saga, in 1996, and for the ensuing 20 years, readers obsessed over the mystery of Jon Snow’s parentage.
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