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A Man Without Honor (S02E07)

Airdate: 13 May 2012

Written by: David Benioff & D. B. Weiss Directed by: David Nutter

Running Time: 57 minutes

The second season of Game of Thrones is often remembered for its ambitious scale, successfully expanding the intricate, multi-continental tapestry of George R.R. Martin’s fictional universe. Its first half managed the formidable task of balancing a proliferating number of storylines within the parameters of one-hour episodes with notable deftness. It is inevitable, however, in a narrative of such breadth, that certain instalments will function more as connective tissue than as standout moments, and one such example is the seventh episode, A Man Without Honour. Written by showrunners David Benioff and D.B. Weiss and directed by the steady hand of David Nutter, the episode lacks truly momentous events and tries to compensate with a formula that would become increasingly familiar: exposition-heavy banter punctuated by sudden, often counterproductive acts of brutal violence. While it displays many of the series’ enduring strengths—superb casting and consistently high production values—it also crystallises some of the nascent weaknesses, particularly a tendency to stray from its literary source for the sake of televisual convenience, a habit that would accumulate with greater consequence as the series neared its controversial end.

A prime illustration of this uneasy blend is the Harrenhal sequence. The cursed fortress, realised with even grander, more imposing scale than in its prior appearances, becomes the site of a mass hanging of Lannister soldiers. Ordered by Tywin Lannister as a drastic, indiscriminate solution to stamp out a suspected assassin—correctly believed to be hiding in Lannister uniform, but incorrectly assumed to have Tywin as a target—the violence is stark and utilitarian. Yet, in the very shadow of the gallows, Tywin remains preternaturally relaxed in the presence of his cupbearer, Arya Stark. Apparently oblivious to her true identity and her murderous thoughts, he engages her in almost friendly, intellectually probing banter, suspecting her noble birth while discussing legacy and history. The scene is a delightful, semi-suspenseful interplay, showcasing the superb chemistry between Charles Dance and Maisie Williams. However, the juxtaposition feels tonally disjointed; the casual genocide outside the window is rendered mere backdrop to a character moment, diluting the horror and reducing complex military tyranny to a plot device that enables witty dialogue.

Elsewhere, the episode continues its focus on the psychological torment of its younger characters. In King’s Landing, Sansa Stark endures the terrifying onset of her first menstruation, a biological milestone that transforms in her world into a prison sentence. The prospect means she can now be forcibly married to Joffrey and bear his children, a realisation that fills her with palpable dread. It is a quiet, poignant moment that effectively underscores the show’s recurring theme of the violation of innocence, though it serves largely as static character exposition within a narrative that is otherwise marking time for the capital.

The narrative inertia is more pronounced in the Stark army camp. Robb Stark, after a discussion with Talisa Maegyr about dire shortages of medical supplies, decides to personally raid the nearby Crag, a Lannister stronghold on the verge of surrender. His absence creates a vacuum exploited by his prized captive, Jaime Lannister. Here, the episode introduces one of its most cynical and problematic deviations from the source material. Jaime’s escape attempt involves the invented character of his cousin, Ser Alton Lannister (Karl Davies). Alton is crafted solely to be portrayed as honourable, sharing nostalgic, friendly banter with his idol Jaime, only to be brutally killed by him. Jaime uses Alton’s corpse as a tool to lure his jailer, Torrhen Karstark (Tyrone McElhennon), whom he also murders. This act makes television-Jaime significantly more vile than his literary counterpart at this juncture. While the series would later invest enormous effort in rehabilitating Jaime into a multifaceted, sympathetic figure, this early, gratuitous act of kinslaying creates a chasm of audience antipathy that the subsequent ‘redemption’ arc struggles to bridge. The aftermath, with Catelyn Stark desperately trying to prevent Lord Rickard Karstark (John Stahl) from murdering Jaime in revenge—her motive being to trade him for her daughters—leads to a powerful confrontation. Catelyn, accompanied by the newly sworn Brienne of Tarth, visits Jaime’s pen, where he responds with defiant, cruel taunts about her late husband, provoking her to seize Brienne’s sword. It is a charged scene, but one that feels rooted in a characterisation of Jaime that the writers have artificially darkened beyond Martin’s original design.

North of the Wall, the episode offers one of its genuine highlights. Jon Snow, still separated from Qhorin Halfhand’s band, remains a captive of his own prisoner, the wildling Ygritte. Having survived a freezing night by huddling together for warmth, their dynamic shifts into a delightful, almost screwball comedy. Ygritte mocks Jon’s obvious physical attraction and his apparent lack of sexual experience with relentless, teasing verve. Against the stunning, austere backdrop of Icelandic landscapes, their dialogue crackles with humour and nascent tension. This charming interplay, however, is merely the prelude to Ygritte’s cunning; she successfully leads the smitten Jon into an ambush where he is captured by her fellow wildlings. It is a well-executed sequence that balances character development with plot progression, demonstrating the show’s strength when it allows relationships to breathe within the epic framework.

In Qarth, Daenerys Targaryen’s storyline finally lurches into gear after a season of ornamental stagnation. Desperate to recover her stolen dragons, even with the returned Jorah Mormont at her side, she finds herself outmanoeuvred. The episode’s final act reveals her patron, Xaro Xhoan Daxos, to have an agenda of his own. In a swift coup, he declares himself King of Qarth and is revealed to be in cahoots with the warlock Pyat Pree, who murders the other eleven members of the ruling Thirteen. Daenerys and Jorah witness the brutality and are forced to flee, as Pyat Pree extends a sinister invitation to the House of the Undying. While this provides a much-needed injection of stakes, it feels somewhat rushed, compressing political intrigue into a sudden betrayal that serves primarily to propel Daenerys towards her next mystical set-piece.

The episode’s most defining and controversial thread, however, unfolds in Winterfell. Theon Greyjoy, personally humiliated by the escape of Bran, Rickon, Osha, and Hodor, struggles to maintain authority over his disaffected Ironborn men. His pursuit with Maester Luwin fails when bloodhounds lose the scent, but not before they discover traces at a nearby farm, where Bran had recently sent two orphaned boys to work. Confronted with his own failure and crumbling command, Theon conceives a plan so grim that he sends Luwin back to the castle. The episode concludes with its most potent cliffhanger: in the courtyard of Winterfell, Theon presents two charred, unrecognisable corpses to the horrified populace, claiming them to be Bran and Rickon Stark. While this brutal moment is taken directly from Martin’s A Clash of Kings, its execution here feels manipulative. For the more perceptive viewer, the reveal is telegraphed by the earlier discovery of the orphans, making the ensuing shock somewhat hollow. It functions less as a genuine narrative twist and more as a convenient, if grim, punctuation mark to an episode in need of a dramatic finale.

A Man Without Honour is a solid but fundamentally flawed hour of television. Directed competently by David Nutter, it boasts the series’ trademark production polish and several exceptional performances—particularly the burgeoning chemistry between Jon Snow and Ygritte, and the masterful scenes between Arya and Tywin. Yet, it also exemplifies the writers’ growing propensity to sacrifice nuanced character logic for immediate shock or simplified conflict, as evidenced by the gratuitous handling of Jaime Lannister. It is an episode of table-setting and character manoeuvring, where the banter is often sharper than the blade, and where the sudden eruptions of violence frequently feel less like organic story beats and more like compensations for a lingering narrative inertia. As such, it stands as a telling microcosm of Game of Thrones’ broader trajectory: capable of brilliance, but increasingly willing to take narrative shortcuts that would, in time, lead to far rockier ground.

RATING: 6/10 (++)

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Released in 1990 and directed by Francis Ford Coppola, The Godfather Part III had the impossible task of following two of the greatest films ever made. That alone shaped how it was received. Expectations were unreal, and anything less than perfection was going to be judged harshly. Over time, though, the film has been reevaluated, and there is a strong case that it stands as an excellent conclusion to the trilogy.

Al Pacino returns as Michael Corleone, but this is not the same man we saw before. Years have passed, and Michael is older, more reflective, and clearly burdened by guilt. Pacino plays him with a quieter intensity, showing a man trying to distance himself from the violent empire he built while realizing he may never escape it.

The story centers on Michael’s attempt to legitimize the family business through a major deal involving the Vatican and international finance. This shift into global corruption expands the scope of the film. It is no longer just about street level crime. It is about power at the highest levels.

Diane Keaton returns as Kay, and her presence continues to represent the life Michael lost. Their interactions are filled with history and tension. Keaton brings emotional weight to every scene, reminding the audience of the personal cost behind Michael’s decisions.

Andy Garcia is a major addition as Vincent Mancini, Sonny Corleone’s son. Garcia brings fire and volatility to the role, echoing Sonny’s aggressive nature while also showing a desire to prove himself. His relationship with Michael becomes central as the future of the family comes into question.

Talia Shire returns as Connie, and her character has evolved significantly. Once overshadowed, she now operates with confidence and awareness, fully understanding the family business. Her growth adds another interesting layer to the story.

One of the biggest setbacks for The Godfather Part III was Robert Duvall not returning as Tom Hagen, and it absolutely had a negative impact on the film. Tom was a crucial character in the first two movies, serving as Michael’s most trusted advisor and a steady, rational counterbalance to his increasingly cold decisions. Without Duvall, that dynamic is missing, and the story feels it. The absence of Hagen removes a layer of internal conflict and intelligence that grounded the earlier films, and while the movie still works, there is no question that losing that presence left a noticeable gap.

One of the most talked about elements of the film is Sofia Coppola’s role as Mary Corleone. While her performance received criticism at the time, her presence still serves an important purpose in the narrative. Mary represents innocence and the possibility of a different future, something Michael desperately wants but cannot fully protect.

Francis Ford Coppola directs the film with a more reflective tone compared to the earlier entries. The pacing is deliberate, focusing on themes of redemption, legacy, and consequence rather than just power and control. It feels like a story about looking back as much as it is about moving forward.

Visually, the film maintains the rich, atmospheric style of the series. The settings range from New York to Italy, giving the film a grand, almost operatic feel. The final act, set against a performance of Cavalleria Rusticana, blends music, tension, and emotion in a way that feels both dramatic and tragic.

The plot weaves together political intrigue, family loyalty, and personal redemption. Michael wants to legitimize the family and leave behind the violence, but the past refuses to stay buried. That struggle drives the entire film.

What makes The Godfather Part III compelling is its focus on consequence. The earlier films showed the rise and consolidation of power. This one shows what that power costs over time. Michael’s journey is no longer about gaining control. It is about living with what he has done.

The ending is one of the most emotional moments in the entire trilogy. It does not rely on spectacle. It delivers something quieter and far more devastating. It reinforces the idea that actions have lasting impact, and not all damage can be undone.

While it may not reach the same level as the first two films, calling it anything less than a strong, well crafted movie misses the point. It is an excellent film that completes the story with depth and honesty.

In the end, The Godfather Part III is about reckoning. It shows that even the most powerful figures cannot escape the consequences of their choices. As a conclusion to one of cinema’s greatest trilogies, it offers something meaningful, reflective, and ultimately unforgettable.

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Today decided to stay home, was not really feeling that well, mostly the cold. I decided to double down and catch up on my Daredevil posts after not doing much, I had a draft for both so was easier and less effort, right now Daredevil Born Again is my favorite show even though Im also watching MONARCH, episode 5 titled The Grand Design did not disappoint me at all. The episode opens with something completely new for what this season has been doing, because instead of throwing more action at you it pulls things back and decides to breathe, using this really clever aspect ratio shift that transports you visually into the Netflix era of the show, the colors go warmer, and suddenly you feel like you are watching Daredevil 2015 all over again, and it is such a dope move that I never though they would do but makes more sense with the mood of the series at this point. Foggy Nelson back in the screen was a cool touch, not necesarly because he is one of my favorite characters of the story but mainly because you forget how much that dude grounded Matt Murdock until he is standing there again in that old law office looking young and arguing about mercy for some lowlife nobody they were assign to defend when the dude clearly knows his future but Foggy know the guy and think if he had better options in life he might just be different, and it reframes the whole Matt and Foggy relationship without feeling like a cheap nostalgia grab for online aura farming. The flashback structure is really good with Matt and Foggy taking a case defending Leo McCoy, a guy who used to bully Foggy as a kid, someone who treated him like shit till the day, is the moral engine that keeps everything going for Matt in the present, it is that connection between past grace and present choice that makes the hour feel patient and earned rather than just a filler episode and the show does not try to rush that connection either, it just lets it build across the whole episode.

• IMDB: https://www.imdb.com/title/tt18923754/
• Platform: DISNEY+

The Wilson Fisk side of this episode is tragic and I mean that because even when is the villain men that was a hard hit he got, because the visual work they do around Vanessa is some of the most thoughtful stuff this show has ever attempted, it really shows how much they love each other. The episode uses Vanessa seeing the Rabbit in a Snowstorm painting, that same painting from the very first season of the Netflix show that brought Wilson and Vanessa together at the art gallery and it runs parallel to the flashback that shows Vanessa before she ever met Fisk, back when she was just a woman working at a gallery trying to convince her boss to hang an all white painting that nobody wanted to show. Watching Wilson in the present it all what is happening to Vanessa while the story simultaneously shows you the exact moment their love story began is a very well thought piece of storytelling, the kind of mirror like situation you expect from something like very dramatic romance show but almost never get from a Marvel and D Onofrio does not even have to say much because his face is doing ninety percent of the work. His body language in the Vanessa scenes this episode is just quietly devastating, the way he pauses before answering people, they guy is really broke down, it is the kind of performance where you can feel the character processing grief in real time without the show having to spell it out. The episode also brings back James Wesley through the flashback, with Toby Leonard Moore showing up to remind you how tight that machine around Fisk once was and the way Wesley connects to both the McCoy case and the Fisk Vanessa meeting is clever writing that ties the past to the present without feeling forced.

There were moments in the episode I wanted more of but the show simply does not go there, one clear example is how Karen Page shows up at the end of the episode and has zero lines, she is basically just there when Matt brings Bullseye to the hideout and the episode closes on her face seeing what Matt has done, I was expecting her to flip out on Matt for him showing mercy to the guy he wanted to kill so desperatly, its that Foggy soul in him, this sets up an obvious future conflict between them but does not actually develop it in this episode at all. That story is coming for sure, you can feel it in the setup, but it is not played out here and I respect the show for taking its time with it rather than cramming it in. What the episode gives you instead is the Matt and Bullseye back and forward, Matt trying to save him and Dex wanting to die for everything he has done to Matt, he insist its just and equation, all this argument while on the run through the city, which is fascinating because Matt is dragging this injured psychopath through underground tunnels to a church, feeling responsible for keeping him alive, and Bullseye is sitting there bleeding out and telling Matt to just leave him to die, the conversations they have about whether people can change and whether mercy even makes sense for someone like Bullseye is the real philosophical meat of the whole hour. There is one moment where Matt chokes Bullseye after he mentions Foggy by name and you see exactly how much grief Matt is still carrying under all that catholic guilt and morals of his, it is a small thing but those small things are what this episode keeps nailing.

What this episode does better than most of this season is use its flashbacks to actually say something about the present rather than just being nostalgia service, I know there were moments that it felt the episode was giving Vanessa too much screen time but I think they were just trying to exploit Fisk suffering, and that is a harder needle to thread than it looks, I am thinking about shows that have tried this and ended up feeling like they were overextending their story instead of building something. The flashbacks to Matt and Foggy arguing the McCoy case, the guy Wesley was trying to have killed inside the prison system while they were defending him on the outside, those moments running in parallel because it shows you the same corrupt system use to operate back then is nothing new to what he is applying during his run in NY as the mayor, it has always been there, grinding people up quietly while the courts pretend to work. The pacing jumps around going from the warm orange tones of the past to the cold blue of Matt moving Bullseye through the city and the visual contrast between those two timelines did some real work for the story rather than just being a style choice. The debate this episode is really wrestling with is mercy and legal duty, whether Foggy defending his childhood bully as a kid set a moral standard that Matt is now forced to honor even when the person in front of him is Foggy's killer and that is a way more interesting argument than any big fight scene could have delivered. The best part of this implementation during the episode is that the episode does not try to resolve it neatly because it does not have a clean answer to what is more important if mercy or moral.

#daredevil, #bornagain, #mattmurdock, #kingpin, #wilsonfisk, #foggynelson, #avocadosatlaw, #karenpage, #bullseye, #marvel, #hellskitchen, #disneyplus, #tvreview, #drama, #visualstorytelling, #nostalgia, #wesley, #vanessafisk, #comicbookstyle, #slowburn, #cliffhanger, #characterdevelopment, #justice, #forgiveness, #tragedy

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In recent years, Disney has begun, like the Borg, to assimilate everything around it, and in this it has been excellently served by the Marvel Cinematic Universe, the most successful film series in history. When 20th Century Fox, one of Hollywood's giants, was acquired by Disney, one of the main arguments this move was that it would fulfil the wish of Marvel fans, namely that characters from the Marvel Cinematic Universe (Thor, Captain America, Iron Man and the rest of the Avengers) could appear in the same film as characters from the X-Men, to whom Fox held the copyright. Sony Columbia avoided the same fate largely thanks to having previously agreed to a deal whereby Spider-Man, a Marvel character to which Sony holds the rights, could appear in Disney's films, and the Avengers and co. could guest-star in Sony's films. And just how precious Spider-Man is to Sony, and how drastic that move was, is best illustrated by the fact that the famous comic about the masked spider-man who defends New York from criminals experienced two reboots in the previous two decades. The new series of Spider-Man films thus began in 2016 when the title character appeared in Disney's film Captain America: Civil War. His first solo outing was Jon Watts's film Spider-Man: Homecoming, which, besides the expected success with audiences, also received very good reviews.

The plot takes place shortly after Peter Parker (Tom Holland), a 15-year-old New York high school student endowed with superhuman powers after the bite of a radioactive spider, participated in the spectacular internal clash among members of the superhero group the Avengers. There he made a deep impression on billionaire and superhero Tony Stark, alias Iron Man (Robert Downey Jr.), who decided to make him his protégé and prepare him for a future Avenger under the guise of an internship at his company. However, the young Parker is impatient and, despite his mentor's warnings, frequently dons his superhero suit and heads to the streets to help his fellow citizens and tackle all sorts of criminal scum. Because of this, he begins to have problems at school, as well as with his attempts to get closer to Liz (Laura Harrier), a student he has a crush on. His academic and romantic problems will, however, be overshadowed when during his anti-crime activities he gets in the way of Adrian Toomes (Michael Keaton), a small-time construction contractor who had previously got hold of remnants of alien technology after the Battle of New York, and who now turns them into weapons which he sells on the black market.

The crossover with the Marvel Cinematic Universe spared the creators of the third version of Spider-Man the need to torture viewers with a third "origin story" of the popular character, and that just five years after The Amazing Spider-Man. Thus the screenplay could use an already established character and concentrate on a "normal" plot, and in doing so used the best elements from the comic book template, which were recognised in the first half of Raimi's Spider-Man from 2002. These are above all his human qualities, namely that, unlike alien deities and charismatic billionaires, he has to deal with ordinary human and teenage problems. The screenplay thus uses a strong contrast between Parker's superhero powers and glittering future with the Avengers on one side, and a rather prosaic and often unenviable present at school where he is surrounded by pupils who are more popular and successful than him. Such a situation is fairly fertile ground for humour, which the screenwriters use for a series of effective scenes, making Homecoming one of the most entertaining and "lightest" of all Marvel films. The screenplay, on the other hand, also uses the reboot for a little more creative freedom in portraying long-familiar characters and situations, so most of Parker's classmates are from racial minorities, and Aunt May, played by the excellent Marisa Tomei, is not only portrayed but explicitly stated as an object of male desire. The most original thing about Homecoming, however, is the attempt to make not only the main character, but also the villain, "ordinary". Thus Toomes, played by the ever-reliable Keaton (with several fairly explicit references to the character he played in Birdman), is not an all-powerful cosmic entity or a megalomaniac who wants to conquer or destroy the world, but merely a small-time "player" who opportunistically tries to earn a few bucks on the wrong side of the law.

A significant contribution to the good impression of Homecoming is made by Tom Holland, the young British actor who in the role of Peter Parker made an effort, and for the most part succeeded, in surpassing his predecessors Tobey Maguire and Andrew Garfield. The rest of the cast is also up to the task, especially Jacob Batalon in the role of Parker's friend Ned. Watts generally directs the film well, skilfully balancing action and humour, although the finale, which takes place at night, could be a bit more polished. The film's biggest shortcoming, on the other hand, is what in commercial terms could be its greatest asset – its firm connection to the comic book source material, but also to the Marvel Cinematic Universe. Many of the rather specific details will be hard to understand or unrecognisable to an audience that knows nothing about the original comics or hasn't watched Disney's film series, at least from The Avengers onward. Viewers who have had the chance to acquaint themselves with the preceding material will, however, be more than satisfied.

RATING: 7/10 (+++)

(Note: The text in the original Croatian version is available here.)

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Hive 2026 is a horror and scary movie that involves children and new baby sitter. I just started the movie and it opens with a young lady who just got a job as a babysitter in a weird environment. Apparently the children are being controlled by some entity and makes them do things uncontrollable. A woman comes up to this young girl who is the new babysitter and advices her to leave this place because it has a way of keeping them in she advised her but there is something in the community that eats nannies and babysitters. Apparently that was weird to believe and she ignored the lady.

The whole thing was confused in at first because i think there is something controlling the children one we have not found out yet. And when the mother of the child came everything seems normal and she even tried to force the babysitter to stay back and even raise her salary. Despite the lady's plea That She Wants to Live and quit the job the woman who is the mother of the weird child threatening her to call and she would press charges against her and viewing her career and life or together.

In the course of all that were happening the girl was still not lucky and was taken by the Hive mind. Her brother however continued the search to find his missing sister through a lady who has experienced the whole thing and knows the truth.

The babysitter'brother found a mean to entire the Hive mind through one of it passage to find his sister. It was a scary experience all together and a good watch.

Notr:images used here were obtained as screenshots from the downloaded movie

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Hello friends, good vibes to all.

Hola amigos, buenas vibras para todos.

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Este inicio de temporada de estrenos de anime no está dando vasto para las reseñas que estoy buscando hacer y es que la del día de hoy creo que será la penúltima de todo estos anime que más me han llamado la atención y que se han venido estrenando en las últimas semanas. No se como me voy a ir poniendo al día con todo lo que tengo por ver pero eso es un "problema" del futuro. La cosa es que el día de hoy les vengo a hablar de MAO, un anime de fantasía oscura, acción, misterio y todo lo que tiene que ver con lo sobrenatural; por lo menos eso es lo que más o menos me ha quedado claro después de haber visto los dos primeros capítulos. Ah, porque esto es la condición que siempre me pongo, para hacer estas primeras impresiones solo tengo que ver los dos primeros episodios.

Hay que decir que el parecido con Inuyasha es brutal pero claro esto pasa porque la creadora del manga, Rumiko Takahashi, es la misma así que ya se entiende la similitud. La historia sigue a Nanoka, una joven estudiante que un día lo perdió todo y que en dicho accidente tuvo una experiencia muy cercana con la muerte. Después de eso se pudiera decir que ella ha tenido eventos un tanto extraños a los que ella no les da mucha importancia. Un día, en el mismo lugar del accidente, hay una especie de pasaje o galería abandonada que para acortar camino decide atravesar; ahí es cuando cambia su presente. Resulta que aquel lugar es una especie de portal que conecta dos mundos, su presente con el periodo Taishō, por allá en 1920.

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En ese viaje ella conoce a MAO, un onmyōji que es una especie de médico/exorcista el cual está haciendo una investigación y buscando a un monstruo en específico (los famosos yōkai) que alguna vez lo maldijo. El detalle es que tal parece que ellos dos de alguna manera están conectados porque aquella experiencia con la muerte de esta joven puede que haya involucrado a la misma criatura. Ahora los dos están tratando de entender todo, descifrar los poderes sobrenaturales de Nanoka y ver cómo se pueden ayudar entre los dos. Como les comenté solo he visto los dos primeros capítulos de los 3 que van por lo que hasta ahora puedo decir que el anime tiene buena pinta. Es verdad que es un Inuyasha 2.0 pero eso no le quita lo cool que pueda llegar a ser.

El estudio detrás de esto es Sunrise, el mismo del universo de Gundam, City Hunter, Cowboy Bebop, Inuyasha, obviamente, Gintama y un largo etc. Sabiendo esto la animación que vemos se nos hace muy familiar y similar a todos estos títulos. Lo que si es cierto es que MAO es mucho más oscura y siniestra que Inuyasha, se nota que es más seria y tiene algo que me gusta mucho que es la incorporación de todo lo que tiene que ver con el folclore japonés. Para algunos será una especie de copia pero bueno, piensen que es de la misma creadora del manga y el estudio también es el mismo así que no es tan descabellado pensar así.

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La animación está normal, todavía no he visto gran cosa en este departamento, si te crea un ambiente y una atmósfera al momento de las peleas que permite una experiencia inmersiva más cool pero hasta ahí. Buenos detalles, buen diseño de los personajes, fluidez pero todo esto es lo que uno espera de un anime, es decir, aún no hay algo que lo haga destacar. Importante: estamos hablando de un anime de 26 EPISODIOS y apenas estoy reseñando después de haber visto 2 por lo que hay que darle mucho más tiempo para que se cocine mejor. Creo que será una buena historia, no se que tanto mejorará la animación pero supongo que en los momentos claves nos mostrará algo más top. La historia imagino, por los 26 capítulos, que profundizará una barbaridad. Esperemos que sea interesante y no algo más del montón. Por los momentos te recomiendo el anime, empezó bien pero si te digo que hay que tener paciencia. Les dejo el trailer por acá abajo.

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Well folks, that's all for today. I hope you enjoyed it. ¡Hugs to everyone, see you next time!

Bueno mi gente por hoy es todo, espero que les haya gustado. ¡Un abrazo a todos, nos vemos en la próxima!

The Old Gods and the New (S02E06)

Airdate: 6 May 2012

Written by: Vanessa Taylor Directed by: David Nutter

Running Time: 54 minutes

The sprawling, epic scope of George R. R. Martin’s literary work, which remained unfinished as Game of Thrones entered its second season, presented the television adaptation with a monumental challenge. The scriptwriters were tasked with condensing vast sections of text, a multitude of characters, essential exposition, and pivotal events into a manageable episodic format. This inevitably led to a plethora of omissions, simplifications, and a narrative pace that could, at times, feel decidedly rushed. This effect was, however, frequently mitigated by skilful direction and strong performances. A prime example of this tension between compression and execution is found in The Old Gods and the New, the sixth episode of Season Two. Directed by David Nutter, an alumnus of The X-Files renowned for his handling of suspense, the episode is structurally notable for featuring two consecutive major cliffhangers, a narrative device that underscores the frantic pace at which the story’s many threads are being advanced.

The episode commences with the efficient, indirect portrayal of a major event: the fall of Winterfell. Through Maester Luwin’s despairing dispatch of a raven, the audience, alongside the Stark loyalists, pieces together the aftermath of Theon Greyjoy’s betrayal. This approach, relying on character reaction and inference from the previous episode’s hints, is a testament to the show’s economical storytelling. For Theon, this conquest should be a triumphant affirmation of his worth to his true family, the Ironborn. Instead, it instantly incinerates every bond he forged in the North, most poignantly with Bran Stark. Alfie Allen masterfully portrays Theon’s brittle arrogance as Bran pragmatically brings formal surrender, urging Winterfell’s residents to accept the new regime. The confrontation with the captured Rodrik Cassell, however, shatters this fragile façade. Rodrik’s defiant spit in Theon’s face forces a crisis of authority. Urged by the vicious Dagmer Cleftjaw to demonstrate strength, Theon reluctantly decides to carry out the execution himself, in a misguided attempt to mimic Ned Stark’s stern honour. The result is a botched, messy decapitation—a horrifying spectacle that strips Theon’s rule of its last vestige of legitimacy, cementing his hold on Winterfell through brute force alone. This moment of profound failure is immediately juxtaposed with Osha’s calculated seduction. Here, the adaptation makes a significant departure from the source material. Natalie Tena’s Osha is not the middle-aged, hardened survivor of the novels, but a dangerous, exotic ‘vamp’ who intrigues Theon with promises of wildling ways. This scene, which dutifully includes Tena disrobing, feels like a concession to HBO’s trademark ‘spicy’ content, providing the pretext for Osha’s later, daring orchestration of the escape for Bran, Rickon, Hodor, and the direwolves—the episode’s first major cliffhanger.

The news of Winterfell’s fall reaches Robb Stark amidst a fragile moment of reunion with his mother, Catelyn, who has returned from Renly’s camp with Brienne of Tarth in tow. Richard Madden conveys Robb’s blistering fury at Theon’s treachery with palpable intensity, his immediate impulse to march his army north and reclaim his home threatening to undo all his hard-won victories in the south. The cooler, more sinister counsel comes from Roose Bolton. His suggestion to let his ‘boy’ handle Theon with a modest force of five hundred men is a masterclass in political manipulation, subtly advancing his own house’s interests while appearing the voice of reason. This scene efficiently underscores the strategic overextension of the Stark cause.

In King’s Landing, the episode delivers one of its most visceral sequences. The cumulative pressures of the approaching winter, a flood of war refugees, spreading rumours of Joffrey’s illegitimacy, Tyrion’s unpopular reforms, and looming famine have transformed the city into a powder keg. The riot that erupts following Princess Myrcella’s departure for Dorne is a tour de force of chaos. The mob’s fury is horrifically realised, culminating in the High Septon (David Verrey) being literally torn apart. The royal family’s frantic retreat into the Red Keep is a stark depiction of their vulnerability. For Sansa, the chaos becomes a personal nightmare. Separated from the group, she is physically assaulted and nearly gang-raped by a mob of thugs—a moment of extreme peril that highlights the show’s willingness to confront the brutal realities its world. Her rescue by Sandor Clegane is both brutal and cathartic, as ‘The Hound’ dispatches her attackers with terrifying ease. This protection, born of a twisted sense of duty, further complicates their uniquely toxic relationship.

At Harrenhal, Arya Stark’s precarious situation reaches a new peak of tension with the arrival of Petyr Baelish. Masquerading as a cupbearer, Arya must be in room containing both Tywin Lannister, who already suspects she is highborn, and ‘Littlefinger’, who would recognise her instantly. Maisie Williams’s performance is superb, her desperate attempts to hide her face a silent ballet of fear. That Baelish does not spot her strains credulity slightly, but serves the plot’s need. His political machinations—suggesting an alliance with the Tyrells following Renly’s death—add another layer to the southern conflict. Arya’s bold theft of a critical message regarding Lannister troop movements, however, leads to her being discovered by Ser Amory Lorch (Kintan McKeown). Her swift solution, naming Lorch as her second death to Jaqen H’ghar, is a thrilling moment that showcases her growing agency. Jaqen’s prompt fulfilment of the request is a chilling demonstration of the Faceless Man’s power.

Beyond the Wall, the episode introduces one of the series’ most beloved characters: Ygritte. Captured by Qhorin Halfhand’s ranging party, her survival hinges on Jon Snow’s mercy. Qhorin’s cold pragmatism—advocating her execution—clashes with Jon’s ingrained honour. His hesitation allows Ygritte to escape, leading to a pursuit that strands them together in the frozen wilderness. Rose Leslie immediately imbues Ygritte with a fiery, mocking vitality that stands in stark contrast to Jon’s dour solemnity. She suggests that they must share body heat to survive. The chemistry between Kit Harington and Leslie is electrically palpable, a fact made more intriguing with the knowledge that the actors would become a couple in real life. This nascent relationship is portrayed with far more authentic spark and tension than the concurrent romance between Robb Stark and Talisa Maegyr, which often feels like a contrived, underwritten subplot inserted to humanise the Young Wolf.

This points to a broader issue within the episode’s adaptations. While Ygritte’s introduction is handled deftly, other characterisations suffer. The transformation of Osha from a weathered survivor into a sultry seductress, as noted, feels like a gratuitous narrative detour designed to inject sexual tension and fulfil a nudity quota. It simplifies a complex character into a stereotype, leveraging Natalie Tena’s allure at the expense of textual fidelity.

A more minor, yet perceptible, flaw lies in the production design. The heavy reliance on Dubrovnik as a filming location, while providing stunning visuals, creates a subtle dissonance. The distinctive Mediterranean architecture stands in for both King’s Landing and the distant, exotic city of Qarth. For the attentive viewer, the similar stonework and coastal vistas can inadvertently blur the geographical and cultural vastness that separates these two locales, slightly undermining the world-building.

In Qarth, Daenerys’s storyline continues its somewhat sluggish Season Two pace. Her pleas for ships and armies are met with cynical mercantilism from the Pureborn, who demand marriage or ‘carnal services’ in return. This powerlessness reaches its apex with the discovery of her murdered handmaiden, Irri, and the theft of her dragons. The episode’s final cliffhanger—a hooded figure carrying the dragons into the towering House of the Undying—provides a compelling hook, but this plot thread still feels somewhat disconnected from the mainland dramas, a consequence of the source material’s extreme narrative branching.

Despite these shortcomings, The Old Gods and the New ultimately succeeds. Under David Nutter’s confident direction, the episode maintains a gripping pace, seamlessly interweaving its multiple storylines. The acting is uniformly excellent, from Allen’s tragic turn as Theon to Williams’s nervy performance as Arya. The riot sequence remains one of the most visceral and memorable set-pieces of the early seasons. While the compression of Martin’s narrative necessitates simplifications and occasionally questionable creative choices—the sexualisation of Osha, the convenient escape from Harrenhal—the episode’s strengths in tension-building, character moment, and sheer dramatic impact outweigh its flaws. It is a solid, often thrilling, piece of television that demonstrates the show’s ability to streamline a complex saga while retaining its essential spirit, even as the strain of that ambition occasionally shows through the cracks.

RATING: 7/10 (+++)

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