On Game of Thrones, people used to fear their governments. Now, governments are learning to fear their people.
The good lords are dead, and the rest are monsters. But in the new world order, individuals have the freedom to choose what kind of world they want to live in.
In the beginning, GAME OF THRONES seemed like a show about keeping the children safe. Now it's becoming a show about keeping safe from the children.
The concept of a "trial-by-combat" presupposes the intervention of a fair and just god. But what if the gods are all just vicious cunts?
We all have a vision of the world the way it should be. It's a place where we all grow up in happy families (who care for us as they should), and we all go on adventures (which work out just the way they're supposed to), and we all fall in love and live happily after (with the person who will love us back forever). It sounds like a nice place, that world.
Maybe character really is fate, as Heraclitus said. Maybe everyone gets exactly what they deserve—or what they think they deserve.
"First of His Name" explores a theme that has been present all season: the way women are forced to navigate this world differently than men do, and to find ways to use their power differently.
In a world in which every person is defined by their house, family, nation, class, gender, and allegiances, deciding to change can be a bit of a challenge.
It's a tricky thing to be a hero. And—as Game of Thrones continually reminds us—it's a trickier thing to believe in heroes.
The wedding of King Joffrey the First provides an opportunity to contemplate the nature—and degrees—of evil.