Game of Thrones: The Exhibition returns to the Bell Lightbox for the show’s fourth season. A virtual tour of The Wall, props from the Purple Wedding, and the hidden contents of a box make Westeros feel more real than ever.
“The Laws of Gods and Men” sticks with the season’s contemplative pacing, taking inventory of its characters past deeds while demonstrating how much catharsis a well written and performed monologue can evoke.
Dork Shelf and HBO Canada want to send one lucky fan and their guest to the opening of Game of Thrones: The Exhibition on Wednesday, May 14 at the TIFF Bell Lightbox.
Tween King Tommen Baratheon may be the "First of His Name" this week, but several characters show new sides of their personalities for the first time, and multiple throwbacks to Game of Thrones’ first season rear their heads with major implications for the future.
This week’s Game of Thrones has a lot to say about the promises we make (and break) in order to assert our identities. It also has a lot to show off in terms of how babies get made.
The web of alliances at King's Landing are becoming ever more complicated; Daenerys approaches her next challenge as the eastern continent's liberator; and the viewers' ideas of who is villain and who is hero are further muddied in the most unsettling manner possible.
Douche Ranking "The Lion and The Rose." Where Game of Thrones characters are ranked on the patented (patent pending) Dork Shelf douche-awesome scale, wherein douchiness is measured in Joffreys and awesomeness is measured in mother$&#@ing dragons.
[View the story “Boo Hoo King Joffrey” on Storify]
“The Lion and the Rose” makes it through the treacherous woods of first act exposition - in the first half, no less - and then celebrates by throwing viewers a party that no one is going to forget anytime soon.
Quite a few characters on Game of Thrones tend to be well… douches. The wonderful thing about the show, however, is that you never know what end of the douche-awesome spectrum each character will end up on from week to week. Dork Shelf has decided to help you keep track of where George R. R. Martin’s imagination children stand each episode with our newest feature: Douche Ranking Game of Thrones!
Between its fantastic bookends, “Two Swords” is everything you would expect from a healthy HBO drama entering its fourth season: statements of intention, an occasional piece of exposition, and a lot of resetting the board for a new game of intrigue, brutality, and maybe even a little glimmer of hope.
HBO's wildly popular epic fantasy series Game of Thrones returns for season four tonight. Your High Valyrian getting a little bit rusty? Can't quite remember which old white dude with a beard is which? Never fear, Dork Shelf is here with our Game of Thrones Season Four Primer.
After the vitriolic horror of the Red Wedding last week, Game of Thrones finished off its third season by reminding us that while some of its central heroes have been removed from play, the war of the kings is still in full effect, with old and new players alike positioning themselves for the next power play.
Showrunners David Benioff and D. B. Weiss have gone on the record multiple times in the past saying that getting to the third season of Game of Thrones was their primary objective at the show’s outset. More specifically, they had set the singular objective of building towards a single scene in a single episode. That scene played itself out in shocking and gory fashion this week in episode nine, “The Rains of Castamere.”
It’s wedding season in the seven kingdoms as the first of four planned nuptials finally gets underway. Much of this week’s episode, “Second Sons," concerns the union of Sansa and Tyrion, which turns out to be exactly as sad and awkward as you would expect a forced wedding between a middle-aged dwarf and a 14-year-old girl to be.