Note from the author: unfortunately, my Anatomy of a Throne series, which took one scene and broke down its adaptation process from page to screen, is no longer possible, given the fact that Game of Thrones has now managed to surpass the book series that it is based upon.
As such, it is time to return to the original column that I had initially deconstructed the show with, It Is Known, though with a twist: since those original articles also relied heavily on the source material for its analysis, this new round will instead focus on one particular thematic development or another, using it as the prism through which to view the entire episode. Think of this, then, as a hybrid between Anatomy of a Throne and It Is Known, produced exclusively for the enjoyment of all you Watchers on the Wall.

If you’d like to see what the original column was all about, I have compiled ebook versions of both the first season and second season installments. (A third – and, also, final – installment has been trapped in the seven development hells since 2013.)
“The Red Woman,” the first episode in Game of Thrones’s history to not have a corresponding novel to (largely) draw from, ended up delving into hitherto unexplored narrative territory for both literary and television fans, but it didn’t end up providing the answers that all and sundry had expected (we’re looking at you, still-dead Jon Snow); instead, it chose to drop something of a bombshell about Melisandre, the titular red woman.
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