Daenerys arrests the heads of Meereen's great families. Jon makes a difficult decision. Theon is forced to face Sansa. Stannis rides south. Tyrion and Jorah enter the ruins of Old Valyria.Daenerys arrests the heads of Meereen's great families. Jon makes a difficult decision. Theon is forced to face Sansa. Stannis rides south. Tyrion and Jorah enter the ruins of Old Valyria.Daenerys arrests the heads of Meereen's great families. Jon makes a difficult decision. Theon is forced to face Sansa. Stannis rides south. Tyrion and Jorah enter the ruins of Old Valyria.
Carice van Houten
- Melisandre
- (as Carice Van Houten)
Featured reviews
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.
Season 5 was a very well done one, but of the five seasons up to this point of 'Game of Thrones' it for me took the longest to completely settle. All the previous Season 5 episodes were very good to great, especially "Sons of the Harpy" (the biggest, boldest and most brutal), but it was that episode that felt the most settled. This is continued with the halfway point episode "Kill the Boy".
"Kill the Boy" is not as big, as bold, as violent, as surprising or as crisp, but it's far from dull and never less than interesting even with the slower pace and more intimate atmosphere. Do wish that the newer characters had more to do and that there was more to Sansa's character.
Having said that, there is a good amount of insightful character development still, compelling drama and very promising story progression, it actually does feel like things are moving forward.
'Game of Thrones' has never failed to deliver on the acting. "Kill the Boy" doesn't disappoint in that regard with strong performances across the board, old and new. There are no exceptions, even with the least interesting characters.
Visually, "Kill the Boy" looks amazing, as one would expect for 'Game of Thrones'. 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.
One cannot talk about "Kill the Boy" 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. The story is still riveting, with plenty of passion and sensitivity.
To conclude, very good episode but 'Game of Thrones' have done better. 8/10 Bethany Cox
Season 5 was a very well done one, but of the five seasons up to this point of 'Game of Thrones' it for me took the longest to completely settle. All the previous Season 5 episodes were very good to great, especially "Sons of the Harpy" (the biggest, boldest and most brutal), but it was that episode that felt the most settled. This is continued with the halfway point episode "Kill the Boy".
"Kill the Boy" is not as big, as bold, as violent, as surprising or as crisp, but it's far from dull and never less than interesting even with the slower pace and more intimate atmosphere. Do wish that the newer characters had more to do and that there was more to Sansa's character.
Having said that, there is a good amount of insightful character development still, compelling drama and very promising story progression, it actually does feel like things are moving forward.
'Game of Thrones' has never failed to deliver on the acting. "Kill the Boy" doesn't disappoint in that regard with strong performances across the board, old and new. There are no exceptions, even with the least interesting characters.
Visually, "Kill the Boy" looks amazing, as one would expect for 'Game of Thrones'. 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.
One cannot talk about "Kill the Boy" 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. The story is still riveting, with plenty of passion and sensitivity.
To conclude, very good episode but 'Game of Thrones' have done better. 8/10 Bethany Cox
For the most part, this is a standard mid-season episode that advances various plotlines but it also contains one of my favorite sequences in the entire series: Tyrion and Jorah's journey through the eerie, fog-shrouded ruins of old Valerya.
This is what I've been missing from the GoT verse: the mystery and exoticism of unexplored realms. Of which there are still plenty.
Other than that, this episode is notable for more developments in Daenerys' story. Ser Barristan was the wise adviser who could hold her back from her more dragonny self.
With him gone, who's left? Missandei thinks everything Daenerys does is peachy. Follow your instincts, great. Jorah is in love with Daenerys and can't be objective. Daario just encourages her worst instincts.
I guess it's up to Tyrion now, the guy who by his own admission loves power for its own sake and who will be a hunted fugitive as long as Cersei breathes...
This is what I've been missing from the GoT verse: the mystery and exoticism of unexplored realms. Of which there are still plenty.
Other than that, this episode is notable for more developments in Daenerys' story. Ser Barristan was the wise adviser who could hold her back from her more dragonny self.
With him gone, who's left? Missandei thinks everything Daenerys does is peachy. Follow your instincts, great. Jorah is in love with Daenerys and can't be objective. Daario just encourages her worst instincts.
I guess it's up to Tyrion now, the guy who by his own admission loves power for its own sake and who will be a hunted fugitive as long as Cersei breathes...
The consolidation of the power of Daennerys. The alliance of Tormund. The survive against stone men and the blesssures of Mormont. And the meet of Sansa with Theon. Simple events, seductive for the great way to define the story. The axis - the love story between Missandei and Gray Worm. A well crafted embroidery of facts and inspired use of nuances - the expectation of Lady Brienne as basic proof.
This episode gives me a slight intermission vibe - but it's a quite entertaining intermission, so that's fine with me.
Did you know
- TriviaThe episode title refers to the advice Maester Aemon gives Jon about growing into a man of the Night's Watch, how he must mature into it and make selfless decisions. This is the same advice he gave many years ago to his own brother Aegon V Targaryen when he was crowned king: "Kill the boy, and let the man be born." As is often the case with Game of Thrones episodes, the title may carry a double meaning: it may also refer to the story that Roose Bolton tells his son Ramsay about how he raped Ramsey's mother, and was presented months later with an illegitimate son; Roose was briefly tempted to kill the boy, but reconsidered.
- GoofsWhen Stannis is discussing the men of the Night's Watch, he says that half of them are "killers and rapists." Until this point the term used had been "raper." It is plausible that the "common folk" believe someone who rapes to be called a raper. Stannis however was shown on multiple occasions to be very well spoken and intent on correcting common language errors (such as confusing less and fewer), so it is perceivable that he uses the correct term "rapists" instead of the more common "raper".
- Quotes
Bowen Marsh: Let them die. Less enemies for us.
Stannis Baratheon: [under his breath] Fewer.
Davos Seaworth: What?
Stannis Baratheon: Nothing.
- ConnectionsFeatured in Thronecast: High Sparrow (2015)
Details
- Runtime
- 57m
- Color
- Sound mix
- Aspect ratio
- 1.78 : 1
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