Another episode, another recap with Jon Snow mentioned in the first sentence. He’s doing quite well for a dead body; he’s up and about and frowning at the people who stabbed him in the heart. That’s quite impressive considering he’s been frozen with rigor mortis since last April. The Night’s Watch now think he’s some sort of god, mainly because the camera is more interested in him than anyone else, but also because the wounds in his chest make him look significantly more holy.
The Red Woman can’t believe it worked. Her shocked expression resembles that of a bullshitting drunk who told their mates they could do a backflip and then surprised their self by actually pulling it off. If it wasn’t clear enough that Jon is some sort of chosen prince, she outright affirms it, with all the subtlety of a TV show that has overtaken its source material.
What did occur to me is that almost every character not at The Wall is completely unaware that Jon was ever dead, let alone brought back to life. Samwell Tarly is on a boat with Gilly and her baby and is still talking about him as if nothing’s happened. That’ll surely make for some awkward conversation when he returns and asks if he missed anything.
And what about Bran Stark? You’d think he’d be in the know with all these visions of his family’s past he keeps having. In this episode he enjoys a Phantom Menacey sword fight, involving a young Ned Stark and several expendable berks. The fact that the scene’s real focus is on his sister, Lyanna, is bound to excite theorists to the point of autoerotic asphyxiation. If it’s not a hint towards Jon Snow’s real parentage then I’m a eunuch.
Consider that Lyanna Stark is his mother and Rhaegar Targaryen is his father, it then seems too convenient that this scene is followed by Danaerys’s storyline. She would technically be his auntie, which, if they embraced the Game of Thrones culture of incest, still wouldn’t be the weirdest relationship we’ve seen on the show. Just the most complicated one.
Long-time survivor of birth with three years' experience in film and entertainment writing. Somehow published with two of the UK's biggest newspapers – The Telegraph and The Times. My alternative style of film, TV and game criticism (hopefully) offers readers a different and amusing way to read about the world of entertainment. I reside in the greyness of London, so I'm a bit miserable. You can follow me on Twitter @CMEcontent.