- Network: HBO
- Series Premiere Date: Apr 17, 2011
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Critic Reviews
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The bodies still pile up in a sprawling episode full of ongoing storylines, but there's a definite sense that there's hope for some of these hopeless sorts. ... [Arya's] journey, as a young woman in a severely patriarchal society, has always been extremely compelling, but with every season, she gets more agency and strength, and becomes even more captivating.
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It’s too early to say for sure, but the first episode of the first post-Martin season already feels more woman-friendly, indeed a tad warmer and more embracing overall, than the preceding 50 episodes, which could feel thrillingly atavistic and occasionally inspiring but also cold, manipulative, and needlessly vicious.
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Though the season premiere delivers the power and pathos fans have come to expect, there is, in fact, a slight but still identifiable shift: Game of Thrones is, in more than a few moments, funny.
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Few shows on television look better than this one, but it’s coming up on great-drama retirement age. Game of Thrones is getting older. But it’s not dead, yet.
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In short, it was an episode of Game of Thrones, a show with little interest in or aptitude for self-editing. The aspects that worked were no better-written or more artfully shot than those that fell slightly flat; they simply had a sense of urgency that was, even by the standards of a show whose premieres are slow going, was absent elsewhere.
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Surprise has its place, and isn't mandatory in a table-setting episode like this, which did its best to catch us up on most of the characters (while skipping over the likes of Littlefinger, Sam, and Hot Pie) and show us where their stories may be headed after all that went down at the end of last season.
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Ultimately, even if not every element satisfied, the sixth-season premiere of Game of Thrones did what it needed to for me, putting this mammoth locomotive back on the track and showing again that even with less and less of Martin's published material to rely on, Weiss and Benioff know how to move it forward.
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A fairly straightforward affair, rejecting subtlety and implication in favor of escape attempts and some body-piercing-by-sword. The hour opted to touch all the Westeros bases, galloping from subplot to subplot in an edition that doubled as a recap of last season.
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At times, “The Red Woman,” like other episodes before it, felt like a collection of vignettes rather than a fully fleshed out series centered on any semblance of core characters.
Awards & Rankings
User score distribution:
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Positive: 1,440 out of 1701
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Mixed: 97 out of 1701
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Negative: 164 out of 1701
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Apr 25, 2016
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Apr 24, 2016
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Apr 27, 2016