Robb goes to war against the Lannisters. Jon finds himself struggling on deciding if his place is with Robb or the Night's Watch. Drogo has fallen ill from a fresh battle wound. Daenerys is desperate to save him.
Sansa begs King Joffrey to spare her father's life. With his mother's support he agrees to spare him provided Ned publicly confesses that he is a traitor and recognizes him as the rightful king. Ned refuses at first but soon recognizes that the lives of his children are at stake and eventually agrees. Arya has eluded capture living in the town and scrounging for food. She goes to the square when she hears her father is to appear. What happens is something no child should have to witness. Tyrion arrives at his father's camp but the elder Lannister is dismissive of his diminutive son. He also tells him that he will be in the vanguard of the attack to take place the next day against Robb Stark's forces arriving from the north. For his part, Robb is proving to be an able field general and takes a Lannister prisoner. Daenerys finds she has little influence after Drogo falls ill and is unable to ride.Written by
Tyrion's story about Tysha is similar to its version in the novels, with several changes: according to the novels, Tyrion was thirteen at that time, not sixteen; Tysha was the orphaned daughter of crofter, not wheelwright's; after Tysha was gang-raped by the guards while Tyrion was forced to watch, his father forced him to be the last to take her. See more »
In Game of Thrones: The Pointy End, Robb told Catelyn that he rallied 18,000 men; in this episode, Catelyn tells Walder Frey "If you could climb your own battlements, you would see that he [Robb] has 20,000 men outside your walls". See more »
The cities and places featured in the opening credits change as the series progresses. For example, in the first episode, Pentos is shown whereas in later episodes, because it is not pertinent to the episode's narrative, it is not. See more »
Came to 'Game of Thrones' fairly late in the game and due to being so busy the binge-watching was gradual. Have found myself truly loving the show, very quickly becoming one of my favourites. It totally lives up to the hype and not only does it do the brilliant source material justice (a rarity in television) it is on its own merits one of the finest, most addictive and consistently compelling shows in recent years and quality-wise it puts a lot of films in recent years to shame.
Of a consistently great first season, "Baelor" is a strong contender for the best episode (certainly the best one up to that point) and one of the best episodes of 'Game of Thrones'. It was the most critically acclaimed episode up to this early nine-episode point of the show, and for good reason. As well as being as always superbly made, "Baelor" is also an emotional roller-coaster in a way that the previous episodes weren't as much (not that they weren't at all, on the contrary, just not to this extent).
"Baelor" is one of the show's richest in characterisation, story and themes and executes it in a way that's tightly paced, dramatically concise, never exposition-heavy, never rambling and not feeling too busy or bloated. Pieces of exposition here, like Tyrion's tent scene, are done tastefully and serve a point instead of being padding, giving great and interesting a chance to shine.
Visually, "Baelor" looks amazing. The scenery is throughout spectacular, the sets are hugely atmospheric and beautiful on the eyes with a real meticulous eye for detail and the costumes suit the characters to a tee. The make-up is beautifully done. The visual effects are some of the best of any television programme and are not overused or abused, the scale, the detail and how they actually have character and soul are better than those in a lot of the big-budget blockbusters. As well the cinematography and editing, which are cinematic quality as well. The final shot has a powerful haunting quality.
One cannot talk about "Baelor" without mentioning the thematically, orchestrally and atmospherically multi-layered music scoring and the unforgettable main theme. Again, worthy of a high-budget fantasy/action/drama film.
It is hard not to be bowled over by the quality of the writing, outstanding isn't a strong enough adjective to describe how good the writing is once again. It always has a natural flow, is layered and thought-provoking and demonstrates a wide range of emotions such as suspenseful tension, poignant pathos and witty humour. As well as being one of the most thematically rich ones of Season 1, the story is paced beautifully, structured with such nuance and attention to coherence, a high emotional level and is done with intelligence, passion and sensitivity.
The best scene, and the most acclaimed one, is the ballsy conclusion, which is both frightening and heart-wrenching and up there with the greatest and most shocking twists in television. Tyrion's tent scene is entertaining. Alan Taylor provides some of the best direction of the show, adding hugely to the conclusion's impact.
All the characters are wonderfully written and layered, Tyrion for good reason is a favourite among fans and critics, while Ned epitomises morally complex nobility and Joffrey is like the devil incarnate in a young body, it is scary at how a character so young could be so evil. The introduction of the Freys is very well handled here. The acting is superb all round, standouts being Sean Bean, Jack Gleeson, Emilia Clarke, Maisie Williams and Peter Dinklage.
In short, amazing episode that shocked and devastated me. 10/10 Bethany Cox
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