Game of Thrones: The Door review

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GOT: The door
Jeff Turner
ONLINE REPORTER

Game of Thrones 6.05 – The Door

Hello. Allow me to go over how this is going to work. I am going to review this coming episode, but that will mean a great deal of spoilers, so bear that in mind.

Talk about a slow hour of television. There are some things I really appreciate about The Door, and others that seem bereft of nuance. We’ll get into all of that in due time. Let’s look at where we left off.

In the last episode, Ramsey Bolton had Rickon Stark in his clutches, and sent a letter taunting Jon and Sansa. War was brewing, and elsewhere Dany had just taken control of the Dothraki, paying off something that had been coming for five seasons, Bran was learning more about his family, and Arya had gotten her eyesight back.

Where are we now? Some good things, others not so much. Some twists have been effective, and others have been quite weak. Let me start with Bran; there are a lot of nice things one can say about Bran’s Season Six arc, he’s gone from one of the weakest stories to one of the Top 3 strongest. I have mixed feelings about him this week. For one: we *still* don’t know what happened in the Tower of Joy, I get that Benioff and Weiss are trying to spread L+R=J over the course of the season, but in the words of God from Monty Python and the Holy Grail…”Get on Wi’ it!”

GOT - The Door

What is it with pantheons of nerd culture completely wasting Max Von Sydow? First Star Wars: Episode VII bought him in for what had to have been five minutes AT THE MOST… and now Game of Thrones has dismissed him after a measly three episodes. *Three episodes*, Max Von Sydow is not getting any younger, yes; but he’s alright, Hollywood, use him better than you have been.

We’ll get back to Bran in a little while. There’s a lot to like about The Door anyway. Take for example Braavos, where Arya witnesses a farcical recreation of the events of the first two seasons. I enjoyed getting a glimpse into how this world perceived the actions of its noblemen and women, it’s nice to see the events of Game of Thrones through a different eye, even if that eye is grossly inaccurate. Seeing these actors portray characters like Ned and Tyrion was very meta; it was fun.

Sansa’s story told us a great deal about her evolution as a character. I have been waiting five seasons for all the torturing of poor, sweet Sansa Stark to pay off and Game of Thrones, for once, seems keen to reward me. She is becoming independent, she is becoming strong; she is becoming exciting.

Things don’t bode well for the Greyjoys. Euron (Pilou Asbaek) confesses to murdering the former king, and despite that gets a coalition behind him. Theon and Yara have no choice but to take a fleet and flee. I had just gotten used to enjoying Yara’s increased profile on the show, it would be just like Thrones to kill her off now.

Now back to Bran, and to the last scene of the episode. Hodor’s death is to be expected, he is an internet phenomenon, but beyond that he is merely a tertiary character. Thrones tries to, at the same time, explain why he says Hodor, and try to complete an arc he never quite had. The show actually factors in *time travel*. It’s so dumb, and yet I cried. The scene benefits from committing to its outlandish introductions.

It will be interesting to see the second half of the season.

Grade: B

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