Roose’s Ruse: Recap, Kill the Boy (Episode 5, Season 5)


“Kill the Boy” is quite possibly the best season five episode so far. The adviser crisis is really becoming apparent as Daenerys falls desperately short of counselors. Yet, when Jon asks for advice, he is told to lead. Winterfell’s heir apparent, Ramsay, still struggles to live up to his father’s expectations. With Sansa’s wedding to a second psycho looming, forces start to gather to tear her apart while others emerge to protect her. Meanwhile, Jorah and Tyrion’s voyage reveals Drogon’s mysterious hiding place.

This recap contains an extended analysis of Roose and Ramsay’s scenes, which are fantastic in this episode. To me at least, this is world-class writing and acting. The mellifluous tones of actor Michael McElhatton’s voice perfectly suit Roose’s cool calculating mind, as does McElhatton’s subtle, measured performance.

Iwan Rheon is a truly brilliant actor, but is he too likable to play Ramsay?

The newly written scenes play perfectly off the tension between Iwan Rheon’s likeable persona and Ramay’s sinister nature. Despite his sadism, Ramsay is becoming more sympathetic. This episode’s writer (Bryan Cogman) employs Ramsay’s likability to heighten his menace to brilliant effect in a riveting dinner scene that will make you wonder who is Winterfell’s master of the game.


Ser Barristan Selmy is dead, Grey Worm is in critical condition, and Dany wants blood.

Daario advises her to purge the city. Daenerys opts for one of his earlier suggestions of rounding up the leaders of each house.

Daenerys has come to a dangerous place. She urgently needs good advice. In this respect, Dany is an ironic foil to Cersei. Both blonde women desperately need advisors: one of them recognizes this and the other does not.


Is Dany (Emilia Clarke) truly dispensing justice her way? Perhaps, Daario influenced her too much. (c) HBO.

After Daenerys’ men collect the noble leaders, she descends into to the dragon dungeon to see them.  The dragons immolate one of the leaders, and then as he burns they rip him in half and tuck in.

The surviving noble leaders immediately drop to their knees and beg Dany’s forgiveness — except for Hizdahr zo Loraq. Athough he looks terrified, he defiantly tells Daenerys: “Valar morghulis” (“all men must die”).


Grey Worm awakens to find the lovely Missandei keeping a tearful vigil at his bedside. Not only is Grey Worm upset to learn that Barristan died, he is ashamed.

When Grey Worm thought he was going to die, he felt fear – a taboo emotion for an Unsullied.  Hetells Missandei was afraid he would never again see her.  <sigh> Finally, these are the words Missandei’s been longing to hear. She climbs into bed with Grey Worm and they kiss.


Missandei (Nathalie Emmanuel) kisses Grey Worm (Jacob Anderson) after he finally reveals his feelings for her. Image: HBO.


Later, Daenerys asks for Missandei’s advice. Dany is in a bind. She can’t kill all the noble leaders and keep the peace. Although Missandei doesn’t feel worthy to counsel her queen, she does tell Daenerys that sometimes she sees unique solutions where others do not.

Although this is a very sweet scene, has it really come to this for Dany? All of her good counselors – Jorah, Barristan, the slave she executed, and Grey Worm –  are gone or dead. Is a translator/handmaiden really Dany’s best source of advice? Good ideas can come from anywhere, but there is no substitute for her other counselor’s political and military expertise. Sadly, the inexperienced Missandei’s advice is likely miles above that of Daario Noharis.


Dany compromises. She will reopen the fighting pits to freemen only, and to forge a lasting bond with the great Meereenese families, she decides to marry Hizdahr zo Loraq.

The Wall


Sam (John Bradley) reads Maester Aemon (Peter Vaughan) news of his only surviving relative, Daenerys, in Meereen. (c) HBO.

Jon has clearly been giving some serious thought to how the Night’s Watch will ward off the incoming threat, the White Walkers — and in this episode, he makes some more hard decisions.

The scenes at the Wall begin in the library where Sam reads news of Daenerys to Maester Aemon. Although Daenerys maintains her grip on Slaver’s Bay, she refuses to leave until the freedom of the former slave cities is secure.

Maester Aemon is pained to hear the troubles of his kindred, who is alone and under siege without family to guide or protect her. He laments that her “last relation is thousands of miles away, useless… dying.”

Jon interrupts the scholars to ask for advice from Measter Aemon. Aemon doesn’t even want to know what Jon’s dilemma is. He tells Jon to do what he wants. Jon must lead.

Aemon provides Jon with counsel that defines the episode and the show even: “You will find little joy in your command, but with luck you will find the strength to do what needs to be done. Kill the boy, Jon Snow. Winter is almost upon us. Kill the boy and let the man be born.”


Later on, Jon asks the captive red-bearded Wildling leader Tormund to lead the Wildlings (or, to use the more politically correct term, “Free Folk”)  to safety south of the Wall.


Tormund (Kristofer Hivju) (c) HBO

Jon wants Tormund to go north of the Wall, gather the remaining Free Folk, and bring them back to Castle Black. Jon will open the gates to them so they can pass to the lands south of the Wall. He also promises the Wildlings lands from the Gift – abandoned lands that were once given to endow the Night’s Watch.

Jon has thought deeply about this oath. He swore to protect the realms of men, all men — including those born on the wrong side of the Wall. When Tormund balks at a peace pact, Jon warns him that he needs to make peace to save his people. Otherwise, he is “condemning [the women and children and elderly] to worse than death because your too proud to make peace.”

Moving so many Wildlings down to the Wall before the White Walkers strike will be tricky. Jon frees Tormund and says he will talk to Stannis about lending Tormund his fleet to transport the people.

Tormund is no fool, however. Getting all the Wildlings in one place could be an easy way for the Night’s Watch to dispense with their age-old enemy, a one-way ticket to the sea bottom. Tormund demands Jon to accompany him North to speak to the Wildlings, so Tormund’s people know this isn’t a trick.


Jon’s plan to let the Wildlings pass through the gates of the Wall is unpopular with the Night’s Watch. The crows cannot forget their history with the Wildlings and their recent battle. After all, Grenn, Pyp, and fifty of their brother’s ashes have barely cooled.

Giving the Wildlings the abandoned villages in the Gift is a bitter pill. The villages are only abandoned because the Wildlings raided them for years.

Jon explains that their choice is learn to live with the Wildlings or add them to the army of the dead. His logic is right, of course, but nobody can look past their feelings to see it. Perhaps the threat, or their tight situation, doesn’t seem real enough.

Even little Olly is upset with Jon for brokering peace with the Wildlings. They burned his village and butchered his family and everyone he ever knew. When Jon explains his decision to Olly, the boy can’t accept it. An icy formality enters Olly’s voice when he takes his leave of Jon.



George RR Martin has said that obsidian has magical powers in his world. Image: Wikimedia Commons.

Stannis finds Sam in the library, and makes small talk with him in the way many nobles in Westeros seem to do — by recalling his experience in war with the person or their kin. In this case, Stannis praises the military prowess of Sam’s father –Randyll Tarley. The king then coolly observes that Sam doesn’t appear to be carved from the same stone.

But, Stannis isn’t there to make small talk. He wants to learn more about how to fight the White Walkers. Thank goodness somebody is paying attention.

Sam explains that you can kill them with dragonglass – also known as obsidian. Stannis finds this odd. The children of the forest, however, hunted with dragonglass.

Sam also tells Stannis that he has seen the army of the dead.

Stannis takes his leave, but he tells Sam to keep reading.



Little Shireen (Kerry Ingram) mounts her horse for the journey to Winterfell. (c) HBO.

Stannis’ army, with its great war train, winds its way out of Castle Black. Stannis wants to attack Winterfell before winter comes. Before Stannis leaves, however, Jon gets the ships he needs to transport the Wildlings.

Stannis is bringing the queen and the Princess Shireen. Stannis thinks his wife and daughter are in more danger staying with the Night’s Watch, who include killers and rapists in their ranks.

Considering that Stannis is one of the few who believe that people need to prepare to fight the white walkers, it’s a shame that he then decides to leave to fight the Boltons at Winterfell. After all, didn’t Melisandre once persuade him that the War of Five Kings means nothing?

Brienne and Pod


Brienne (Gwendoline Christie) looks out at Winterfell with a troubled mind. (c) HBO.

Brienne and Pod have taken up residence in a peasant’s home near Winterfell. Brienne will not accept that Sansa could be better off with the Boltons. She tells Pod, “Sansa is in danger even if she doesn’t realize it.”

Brienne enlists their peasant host to smuggle a message to Sansa.

Later on, Sansa’s servant visits her and gives her some instructions that may prove crucial. If Sansa is ever in trouble, she should light a candle in the highest window of the broken tower. Given the speed with which the message reaches Sansa, and the number of loyal people’s hand through which it must have passed, clearly the North does remember.


Ramsay’s vicious lover Myranda is sulking because she caught Ramsay staring at Sansa. She is also upset because Ramsay has backed out of his promise to marry her.

He tells Myranda that Ramsay Snow promised to marry her, not Ramsay Bolton. His situation has changed. He is no longer a bastard named Snow who can marry whom he pleases. He is the heir to House Bolton. What he wants is no longer the primary consideration. He is furthering a dynasty.

When Myranda attempts to make Ramsay jealous by saying she might marry too, he scoffs. Medieval realities are harsh. To whom he says? She’s the kennel master’s daughter; who would marry her?

When Miranda asks Ramsay if he thinks Sansa is pretty, he admits he does. (“Of course, I do. I’m not blind.”) With this level of honest communication, they seem like any loving couple.

But, then Ramsay threatens to kill or torture Miranda if she keeps boring him with her jealousy. Her reply? She bites his lip, drawing blood. His eyes light up in lustful delight and the scene ends as they have a little rough sex beside the rough stone wall.



Sansa, don’t trust her! (c) HBO.

Later on, Myranda finds Sansa staring at the broken tower. Hopefully, this is not a bit of foreshadowing.

What happens next is creepy. Myranda blatantly attempts to ingratiate herself to Sansa. “I like your dress,” she says, as though they are equals. (BTW, in a medieval context, this level of familiarity between a commoner and a noble lady is shocking.) Sansa looks uncomfortable, but it is hard to know whether it is the social issues or simply that Sansa knows the phrase “stranger danger.”

And, Sansa should be wary of Myranda. Last season, Myranda dispensed of a pretty rival (presumably) by persuading Ramsay it would be fun to hunt her.

photo 1

Ramsay and Myranda hunt Tansy through the woods. (c) HBO.

After exchanging pleasantries about needlepoint and mothers, Myranda gives Sansa a bit of a shock. The kennel master’s daughter tells Sansa there is a surprise for her at the end of the kennels – something else to help her remember her days at Winterfell. In the last kennel, Sansa finds Theon, who warns her that she shouldn’t be there.

Myranda’s motives are unclear. Is this stunt simply to destabilize a rival? Is Myranda allying herself with Sansa in case she proves powerful? Did Ramsay put her up to this? One thing is clear: Myranda goes from empathizing with Sansa over her mother’s death to tricking her into seeing something unpleasant. Myranda will not go down without a nasty fight.


Later, while alone with Ramsay, Theon confesses that Sansa saw him in the kennels.  Ramsay knows that Theon is holding back information. But, how does Theon know?

To punish Theon, Ramsay commands Theon to kneel and give him his hand. We cower with Theon, waiting for him to be flayed or lose a digit. Then, like the sun emerging from under a cloud, Ramsay absolves him, laying his hand over Theon’s.

What’s interesting about this scene is how Ramsay knew that Theon was withholding information. Surely, Myranda did not act on her own when she showed Sansa Theon’s cage. Would the kennel master’s daughter dare defy her golden ticket that much? It seems unlikely. Either Myranda persuaded Ramsay that it would be fun to unsettle Sansa a little, or Ramsay’s hand silently guided the whole revelation.



Dinner at the Boltons. (c) HBO.

It’s a delightful family dinner at the Boltons. Ramsay is so charming to his stepmother Walda (“mother”) and Sansa that it is hard to believe this is same sadist who dis-membered Theon and flayed the Ironborn. But, then tricky and evil Ramsay emerges, and it is hard to know what triggered it, or if Ramsay planned his antics all along.

Ramsay toasts his family and his wedding.

Sansa, however, does not raise her glass.

Kindly Walda attempts to smooth over any awkwardness by showing compassion for Sansa, “It must be hard to be in a strange place.”

Sansa bluntly replies, “This isn’t a strange place. This is my home. It is the people who are strange.”

Since this little bird has flown from King’s Landing, she has become far more self-possessed and aware of her power. Sansa’s the true heir to Winterfell (or so they all believe). She’s the only shot the Boltons have of winning the hearts of the North and legitimizing their tenure, and she knows it.

Ramsay smiles broadly at her, nods and says, “You’re right. It’s the people who are strange.” Is he masking rage at his new bride’s insolence? The next second he calls for more wine, which prompts Theon to emerge from the shadows, and the dinner theater begins.

Ramsay brings up Theon’s massacre of Sansa’s “brothers” and notes he has made Theon pay.

Sansa isn’t stupid though, and she says to Ramsay, “Why are you doing this?”

Ramsay claims it is so Reek can apologize. Perhaps Ramsay is flexing his muscles, subtly showing Sansa how ruthless he can be. Is Ramsay as impetuous as his father claims? Some of Ramsay’s actions seem quite strategic. To the frigid Roose, however, they may seem as uncontrolled as a wild fire.

Ramsay unleashes his coup de grace. Since Theon is Sansa’s closest living kin, he should walk her down the aisle. Yep, that’s just what Sansa wants: the man whom she believes killed her two younger brothers walking her down the aisle as she marries into the family that killed her mother and elder brother.

Throughout all of this, Roose looks less-than-thrilled. He can’t be enjoying this tactless stunt. It’s not his style, and he has warned Ramsay before to be more discreet. Roose says little – until he makes his counterstrike.

He informs Ramsay that Walda is pregnant – something he knows will make his emotionally scarred, newly legitimated heir loose his mind. Just to twist the knife, Roose tells Ramsay that their maester thinks it will be a boy.

Undoubtedly, Ramsay’s mind is racing. What happens with Ramsay’s position? Will he still be the heir if Walda has a boy?

Roose could have announced this threatening event at any point and in any way. Instead, because of Ramsay’s behavior, Roose decides to publicly announce Ramsay’s potential loss of status over dinner –and make Ramsay swallow his anger and vomit up felicitations instead.



Roose unleashes his ruse upon Ramsay. (c) HBO.

Later on, as Ramsay and Roose study the war map by candlelight, they indirectly argue, each discussing what is really upsetting them. Pater Bolton is the puppet master here, and he knows what strings to pull.

Ramsay questions whether Walda is really pregnant, implying disgust with her obesity. Roose obliquely replies: “You disgraced yourself at dinner, parading that creature before the Stark girl1 .”

Ramsay is upset. “You’ve made your position quite clear,” he complains. “I’m your son, until a better alternative comes along.”

Again Roose’s response is oblique, and it’s an ironic replay of Ramsay’s treatment of the kennel master’s daughter. To send Ramsay on an emotional roller coaster, Roose describes the events surrounding Ramsay’s birth.

Ramsay’s mother was a pretty peasant girl who married the miller without Roose’s consent – which, incidentally, was a big no-no in medieval times and apparently in Westeros as well. Roose hung the miller and then raped Ramsay’s mother underneath the swinging corpse of her dead husband.

She showed up a year later with a “squalling” baby. Roose nearly had her whipped (for her insolence presumably) and her child thrown in the river. Then, just as Ramsay would be at his very lowest, he switches tactics – it is not hard to see how Ramsay learned to manage Theon – and makes Ramsay feel incredibly grateful. “But then I looked at you and I saw then what I see now. You are my son.”

Roose wants Ramsay to pull another bunny out of the hat for him again (like Ramsay did with Moat Cailin). Roose employs the same method to motivate his son: play on what Ramsay fears losing the most (his place in his father’s world). This time it may be a ruse though. Is Walda really pregnant, or is this just a tricky ploy to inspire Ramsay?

Roose predicts Stannis will soon attack them and try to capture Winterfell. He then rallies his son to his side. They are in this together; they are partners. “But the North is ours,” Ramsay says. “It’s yours and mine. You’ll help me defeat him?”

Tyrion and Jorah


Tyrion (Peter Dinklage) on the skiff. (c) HBO.

Jorah still holds Tyrion captive on the skiff. Tyrion is clearly bored out of his skull and can’t stop talking. Worse, he’s drying out. And, Jorah’s unsympathetic to his attempts to get wine.

Jorah has resolutely decided to sail through Valyria. Valyria is the Targaryens’ now-destroyed ancestral homeland. Earthquakes and volcanoes tore the land apart years ago in an event known as the Doom. People are superstitiously afraid to go to Valyria’s still smoldering lands and claim the Doom still rules Valyria.

When they spot the ruins, Tyrion bemoans the knowledge lost when Valyria fell: “How many centuries until we learn how to build cities like this?”

An astonished Tyrion sees a dragon – Drogon — flying overhead.

Stonemen attack the boat.  Valyria now functions as some kind of leper-type colony where people with the greyscale are banished and eventually turn into stonemen. (Greyscale calcifies its victims skin and can even harden their insides.)

Don’t let them touch you, Jorah warns.

Tyrion falls out of the skiff.

A hand grabs his leg and tows him down into the depths. The screen goes black. Is Tyrion doomed?

No, he’s not. Jorah must have pulled Tyrion out from the depths. When we see them next, Tyrion and Jorah are on the beach.

The skiff is gone. They have no transit. Jorah says if they can’t get a boat, they will walk to Meereen. (It is not close.) And, worst of all, Jorah now has greyscale on his wrist.

  1. 35:59 []

Jamie Adair is the editor of History Behind Game of Thrones, a website about the history behind George RR Martin's "A Song of Ice and Fire" novels and the hit TV show, "Game of Thrones."


  • Reply May 11, 2015


    Given the consequences of Greyscale, I did wonder why Jorah didn’t amputate his arm rather than face certain death. But that would mean giving up his fighting arm and probably all hope of delivering Tyrion to Danny.

    Plague was a major issue in the middle ages. Communication was good enough for disease to spread. Medicine was too primitive to effect a cure or control the spread. They didn’t even have the model right, the germ theory of disease does not get established till the mid Victorian period.

    The change in Tyrion’s journey from the books makes sense now. There was no need to send a POV character to Valyria in the books. Descriptions in dialogue serve as well as in prose. But in a TV series, the only way to put them on screen was to send a principal character there.

    Yet again, HBO show that no expense is spared. A whole new geography thrown in for essentially one segment. And then a dragon just for a reminder this is Drogon’s domain.

    We don’t quite know what is coming in Winterfell. But it is fairly clear it is going to be quite brutal. Myranda is showing signs of being just as vicious as Ramsay, but not necessarily for the same ends. She might just help Sansa escape so as to eliminate a rival. Or she might prefer her rival to be slightly more dead than Sansa would like.

    Littlefinger’s gamble seems fairly astute at this point. If Stannis wins, Sansa becomes warden of the North and owes it to him. If not, he child will be heir to Winterfell. The one thing that LF does not know about is that Rikon and Bran are alive and that changes everything.

  • Reply May 11, 2015

    Jamie Adair

    Yes, I meant to mention that Ramsay deliberately confirmed Sansa’s belief that Theon killed her brothers. I wonder why? Is it because this ensures that neither one of them develops allies? Is it so Sansa doesn’t derail Ramsay’s plans for her as the heir to Winterfell by seeking out her brothers (one of whom is the real heirs)?

  • Reply May 12, 2015


    How likely would a match like Sansa and Ramsay be during medieval times? I really had to suspend my disbelief that a woman whose family members had been murdered by her future husband’s father would willingly be there at that dinner, and without even a chaperone.

    • Reply May 12, 2015

      Jamie Adair

      Wow. I guess I had really suspended my disbelief – Game of Thrones working its magic. I didn’t even catch that. I guess you could say thatWalda and Roose chaperoned Sansa, BUT Roose murdered her family. So, you are absolutely right. Also, granted the Spanish were stricter, but with Catherine of Aragon, I believe the Spanish were extremely strict about requiring a chaperone from *their camp* at all times before she wed Arthur.

  • Reply May 12, 2015

    Watcher on the Couch

    Didn’t Littlefinger “sell” the match to show Sansa as a means to an end? I can’t think of any exact examples, but I remember learning at school that some of the Normans who came to England at the time of the Norman conquest intermarried with women of the Anglo-Saxon nobility. I wonder if some of those ladies had lost a husband/brother/father/son at the Battle of Hastings? I also read somewhere that Richard I of England (Lionheart) had a penchant for “persuading” widows and heiresses with money (obviously ones without someone to bat for their corner) that they had religious vocations so that he could use their money to fund his crusade. It’s some time since I read it so I would have to do a bit of sleuthing to see if I could find the title of the book (which was a library book not a personal possession). That being said, Richard does seem to have been very popular in his lifetime (though he spent very little time in England). The citizens of London put forward at least some of a ransom that had to be paid for him at one time (again I would need to check my sources – unless some of the history buffs who contribute here periodically could fill in the blanks – I’m an interested layperson not an expert). But of course there were some women with strong personalities in the Middle Ages (not necessarily in the sense of buckling a swash). Matilda, daughter of Henry I of England (and mother of the Plantagenet line and also sister to the heir to the English throne who was drowned in the “White Ship”) waged war against her cousin Stephen – who grabbed the throne – for many years, though of course Matilda was a married lady. As ever it was the “small folk” who suffered during that Civil War (also known as the Anarchy).

    • Reply May 13, 2015

      Jamie Adair

      Richard I, IMO, doesn’t get nearly a bad enough rap, IMO. Nonetheless, he is one of my favorite historical figures but I don’t know that much about him.

      I think there were a lot of strong medieval women. You had to be tough to survive in that period. Noblewomen had to be able to run a household and deal with business transacations while their husbands were gone. Some households were huge — more similar to running a small company that we might think.

      • Reply May 14, 2015


        Hi Jamie. I love the recap, as ever.
        Re Richard the ( sometimes not so ) Lionheart, I’m currently indulging in a re- read of Sharon Kay Penman’s ‘Devil’s Brood’. I know it’s a fictional historical novel, but there’s lots of good background into Richard, his brothers and their formidable father ( SKP does her research!) and also plenty of excellent insight into Eleanor of Aquitaine (for me,THE exemplar of a strong female identity in the whole medieval period)

        • Reply May 14, 2015

          Watcher on the Couch

          Martine – I don’t know if you are familiar with a not dissimilarly titled book, Alfred Duggans’s “Devil’s Brood: History of the Angevin Family” – I read it taking it to be fiction but Wikipedia says it is supposed to be non-fiction. I can’t vouchsafe for ho true it is, but to my mind it is well written and the parties come across as real people. I enjoyed it when I read it many years ago – it also mentions William Marshall who features in an earlier article on this site as being an inspiration for Ser Barristan.

  • Reply May 14, 2015

    Watcher on the Couch

    I was trying to think of a strong woman in the sense of “sisters are doing it for themselves”, fighting (not necessarily by buckling a swash) her own corner without being reliant on a male. Elizabeth I of England comes to mind, who has already featured in earlier articles on this blog; Elizabeth did have male friends and admirers of course, though she could despatch former favourites ruthlessly if seemed necessary. Though with a male or without a male she would have needed loyal followers.Thinking about my previous comment, I didn’t mention (though I suppose lots of people know it anyway) that Maud was the mother of Henry Fitzempress aka Henry I of England and hence the grandmother of Richard I of England and his siblings.

  • Reply May 14, 2015


    On another topic entirely………………

    The following words in your recap gave me chills, Jamie ….no doubt you know why!

    “Maester Aemon….laments ( of Danaerys) that her ‘last relation is thousands of miles away, useless… dying’. …..Jon interrupts the scholars to ask for advice from Measter Aemon”

    JUST precisely as Aemon is speaking about the ‘Last Targaryeans’- enter Jon!

    Dan, David and Bryan Cogman are so gleefully aware of what they’re doing IMO!

  • Reply May 15, 2015

    Watcher on the Couch

    I realise in retrospect I referred to “buckling a swash” in two recent posts. One can over use an expression I guess. Yesterday I was suffering from a late spring cold (that’s my excuse and I’m sticking with it) so I didn’t pick up on the fact, or forgot, that I had used the same wording very recently. While I am on the website I wondered if anybody had any ideas about possible sources for Valyria. I thought about the legend of Atlantis but no doubt there are other possible inspirations. From a later period of history than the middle ages I remember that when the first reform act was passed in 1832 in Britain (reform referring to election to parliament), much of Dunwich, one of the “rotten boroughs” had fallen into the sea.

    Incidentally, I tried to post on the forum about Tywin’s children yesterday but it wouldn’t let me post. I have had some problems with my mouse button recently (so much so that I’ve ordered a new one) but I wondered, do you have to “sign in” to be able to post on the forums?

  • Reply June 20, 2015


    I think that Rikon is already at the Wall – he’s Olly

    • Reply June 22, 2015

      Jamie Adair

      That’s kind of an interesting theory! I’m not sure if they are the right age, etc. I don’t know if anyone has ever said how old Olly is, but it is an interesting theory. I like it. 🙂

  • Reply April 29, 2016

    Apocalyptic Queen

    Interesting choice of words from Aemon Targeryan:

    “Kill the boy and let the man be born” – some potential foreshadowing here as to Jon Snow’s ultimate fate?

    • Reply April 29, 2016

      Jamie Adair

      Huh. Clever observation.

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