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I don’t want to break down the entire death scene at the boat on the Greenblood with Areo Hotah and Myrcella and Arianne and Darkstar and all that, but I will tell you that Arys is actually not playing the role of an Other there, despite his status as a white knight of the kingsguard. I hate to throw you such a curveball, but Azor Ahai’s Lightbringer was white hot and smoking before he stabbed Nissa Nissa with it, and that’s exactly what Arys Oakheart is leading up to his death as he’s led through the deserts sands of Dorne, being sunburned and reddened all the way, with Arianne wondering if he’ll cook in his armor. When he has sex with Arianne, a snakey Nissa Nissa figure who is hot to the touch, Arys can be imagined as the white hot sword “stabbing” Nissa Nissa, if you will. His sword will be “shining silver” in his death scene. Hotah’s longaxe took his right arm off at the shoulder, spun away spraying blood, and came flashing back again in a terrible two-handed slash that removed the head of Arys Oakheart and sent it spinning through the air. It landed amongst the reeds, and the Greenblood swallowed the red with a soft splash. They came from an axe as opposed to a hammer, but since the ancient Andals seem to have used them interchangeably as symbols, according to the maesters, and it’s certainly close enough. He’s losing his life to enter the weirwoodnet, and immediately following a Nissa Nissa moon maiden event (Myrcella’s wounding) and a sharp set of Hammer of the Waters injuries. This might make him a green zombie candidate, with the greenblood river that drinks his blood standing in for the pool before the Winterfell heart tree that drinks the blood of the victims sacrificed to it. Check out the quotes about the boat; first we find it “hidden beneath the drooping branches of a great green willow,” and then the boat itself is described.

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The true story of Einar Wegener, who went through sex reassignment surgery in the 1920s to become Lili Elbe, it features another astonishing turn from 33-year-old Redmayne who is partnered (in a performance of equal depth and sensitivity) by Alicia Vikander. Redmayne is already being tagged as an Oscar nominee alongside Johnny Depp (a front-runner for his gangster in Black Mass), Michael Fassbender for his portrait of Steve Jobs and Mark Ruffalo for his crusading reporter in Spotlight. With typical Tarantino relish the film is packed with twists, turns and tremendous dialogue. Christian Bale gives another intense performance in The Big Short (January 22), a true-life tale of the financial crisis of the 2000s. His co-stars are Ryan Gosling, Brad Pitt and Steve Carell. Spotlight (January 29) chronicles the campaign by journalists at the Boston Globe to uncover the scandal of Catholic priests preying on children during the 1970s and 1980s. Directed by Tom McCarthy and starring Mark Ruffalo, Michael Keaton, Rachel McAdams and Liev Schrieber, it’s a hard-hitting Press procedural that follows in the wake of classics such as All the President’s Men. Already picking up five-star reviews, it’s likely to attract multiple Oscar nominations. The 33 (January 29) is the 2010 story of the Chilean miners trapped by a collapsed mine 2,300 feet underground. History tells us that they were rescued but, like Apollo 13 and Titanic, the drama is in the retelling and the range of emotions on display.

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