This week, events surrounded the political machinations in the courts of the south of Westoros. The spies are all at work, it seems, with little Sansa Stark at the unwitting centre of their web.
Sophie Turner, who plays Sansa, has been perhaps the only exception to the typically fabulous acting of the whole cast; her drama school delivery cuts a jagged contrast to the natural performances which surround her.
In this episode she raised her game, even managing to illicit a pang of sympathy at the close of a poignant scene with the future queen, and reacting with a misplaced, tearful hope to what is essentially subterfuge.
The highest praise must be given to Natalie Dormer, who plays Margaery Tyrell as a perfect mix of seeming innocence and underlying calculative political savvy, which blend together in an beautiful, yet infinitely sinister form. One of the relatively new characters in the show, she beguiles and bewitches; inspires a dread-filled grim fascination as to her intentions.
The dialogue in Game of Thrones is a true thing of wonder. The conversation between Margaery’s grandmother, Lady Olenna Redwyne (Diana Rigg, giving her best performance in years) and Cersei Lannister (Lena Headey), is superbly handled; the mundane chatter of two ladies of the court, ostensibly on one subject, with an obvious double meaning sewn deep into the weft, is magnificent.
The Tyrells’ politicking is advanced far beyond even that of the Lanister clan; a family so corrupt and sly, they would be untrusted alone with a wealthy, sleeping grandparent.
Not only the dialogue itself, but the spaces betwixt each word are filled with nuance and doubt. The talk between Brienne of Tarth (Gwendoline Christie) and Jamie Lannister, is filled with pregnant pauses which speak volumes.
Lannister, fresh from losing a hand in dramatic fashion in the last blow of last week’s show, is played in sweet vulnerability by Nikolaj Coster Waldau, his hair lank, his outlook bleak, he swaggers less; a pale shadow of the erstwhile King Slayer.
The theme of capture abounds this series, and in catching up with Arya Stark (Maisie Williams), we see a fine example of well-used locations and set work. The show does admirably in this respect; drama moving from snowy hills to desert shore, returning on the woodland path.
The scenes are beautifully shot, with painterly lighting, and reek of careful planning and an endless budget.
Scoring is majestic and apt, as ever. A swelling of strings soar to the sky, then sweep back down below, curling in tight upon the smallest of conversations. It never detracts from the action, rather it echoes it. A dance of chords for melancholic grief, which subsist on a whisper, only to surge once more.
Plot pacing is handled deftly in this episdoe, juggling slower scenes in forests green, to devious plotting in dark corners, then onward to dune steeped action.
It lets us peek through windows then skip away, holding the viewer’s attention easily. The change of rhythm is welcome, after several rather slow episodes, these being necessary, yet infinitely frustrating; a tease of the potential contained tightly within.
Another welcome sight is that of The Unsullied finally getting to show their mettle, as Daenerys Targaryen (Emilia Clarke) strikes an unparalleled bargain. A shrewd move which befits a queen on the cusp of a great war, not the innocent young girl we were introduced to in the first season; flung about like jetsam on her older brother’s foolishness.
At the close, then, we are given a tempting glimpse upon the magnitude of possibilities. The shining promise of that which lies ahead. Tales of men and dragons. Tales of lies and hope.