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Game Of Thrones

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The fight for Westeros might be won or lost on the rear of a lime green mechanical bull. 

That is what it resembles on a January Monday in Belfast, as Game of Thrones films its seventh season here. Absolutely nobody accepts the winged serpents that have excited watchers of HBO’s hit series exist in any genuine sense. But it’s still to some degree astounding for see the British entertainer Emilia Clarke, who plays banished sovereign Daenerys, riding the “buck” on a soundstage at Titanic Studios, a film complex named after this city’s other broadly enormous commodity. 
The machine under Clarke seems to be a major handle pony and moves in a state of harmony with a PC liveliness of what will turn into a winged serpent. Clarke doesn’t talk much between takes. Again and again, a breeze firearm shoots her with barely enough power to make me stress over the uprightness of her debris fair hairpiece. (Its specific tone is the consequence of 2½ months of testing and seven models, as per the show’s hair planner.) Over and over, Clarke gazes down at a concealing tape blemish on the floor the moment episode chief Alan Taylor yells, “Presently!” Nearby, a few enhanced visualizations managers watch on screens. 
Clarke and I talk in her trailer before she heads to the soundstage, toward the start of what is to be a drawn out week occupying a now notable person. However, in the background it’s more work than win. The show’s most memorable season finished with Daenerys’ bring forth three child mythical beasts, each the size of a Pomeranian. They’ve since developed to the size of a 747. “I’m 5-ft.- nothing, I’m a young lady,” she says. “They’re like, ‘Emilia, climb those steps, get on that gigantic thing, we’ll saddle you in, and afterward you’ll go off the deep end.’ And you’re like, ‘Hello, everyone! Presently who’s shorty?!'” 
She has motivation to feel strong. On July 16, Clarke and the remainder of the cast will start getting Thrones for an arrival with the first of its last 13 episodes (seven to air this mid year, six to come later). Lofty positions, a rough upstart sent off by two TV tenderfoots in 2011, will complete its run as the greatest and most famous show on the planet. A normal of in excess of 23 million Americans observed every episode last season when stages like web based and video on request are represented. Furthermore, since it’s the most pilfered show ever, millions more watch it in manners unaccounted for. Lofty positions, which holds the record for most Emmys at any point won by an ideal time series, airs in excess of 170 nations. It’s the farthest-arriving at show out there — also the most fixated on. 
Individuals discuss living in a brilliant time of TV introduced by hit shows like The Sopranos, Mad Men and Breaking Bad. All had unequivocally sharpened bits of knowledge about the idea of mankind and of abhorrent that changed assumptions for what TV could do. In any case, that period finished around the time Breaking Bad went behind closed doors in 2013. In came straightaway: a remarkable excess of programming, with web-based features like Netflix, Amazon and Hulu bouncing into an always packed fight. Presently, there’s an esteem show for each possible watcher, and that implies more modest crowds and less genuinely unique stories. 
Aside from Thrones, which blends the mental intricacy of the best TV with old-school Hollywood magnificence. You enjoyed shows with one anti­hero? All things considered, Thrones has five Tony Sopranos fabricating their domains on blood, five Walter Whites finding exactly the way that far they’ll go to win, five Don Drapers proud in their self-centeredness. Gracious, and they’re all experiencing their theatrics against the most amazing vistas not of this world.
The peculiarity is powered by a huge overall contraption that, in a normal 10-episode season, creates what might be compared to five major spending plan, full length films. Indeed, even as the series has filled every way under the sun throughout the long term — it shoots all over the planet; every episode presently brags a financial plan no less than $10 million — it stays enlivened by one straightforward inquiry: Who will dominate the match eventually? Furthermore, assuming Thrones has shown us anything, it’s that each rule needs to end at some point. 



1. the fiction 

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Everything began with a book. In 1996, George R.R. Martin distributed A Game of Thrones, the first novel in quite a while A Song of Ice and Fire series. (In those days, he imagined it as a set of three. Today, five of the arranged seven volumes have been distributed.) As an essayist for shows like CBS’s The Twilight Zone and Beauty and the Beast in the last part of the ’80s, Martin had been disappointed by the constraints of TV. He concluded that going to composition implied composing something “as large as my creative mind.” Martin told himself, “I will have every one of the characters I need, and massive palaces, and winged serpents, and critical wolves, and many long periods of history, and a truly perplexing plot. What’s more, it’s fine since it’s a book. It’s basically unfilmable.” 


The books turned into a hit, particularly after 1999’s A Clash of Kings and A Storm of Swords a year after the fact. Martin, who composes from his home in Santa Fe, N.M., was contrasted with The Lord of the Rings creator J.R.R. Tolkien. Like Tolkien’s Middle-earth, Martin’s Westeros is a land with a particular arrangement of rules. To begin with, enchantment is genuine. Second, winter is coming. Seasons can keep going for a really long time at a time, and as the series starts, a long summer is finishing. Third, nobody is protected. New religions are in struggle with the old, rival houses have plans on the capital’s Iron Throne, and an undead armed force is pushing against the limit of progress, known as the Wall. 


Privileged positions’ immense number of families incorporates the affluent and louche Lannisters, including forbidden twins Cersei and Jaime. She is the sovereign by marriage; he guaranteed her command through savagery. Their sibling Tyrion, an “pixie” of short height, is maybe the most keen understudy of force. Then, at that point, there are the Starks, drove by compelled by a solemn obligation Ned. His youngsters Robb, Sansa, Arya, Bran, Rickon and “jerk” Jon Snow will be dissipated all through the domain’s Seven Kingdoms. Daenerys is a Targaryen, an ousted family that likewise — shock — has a case to the privileged position. Before sufficiently long, Thrones lapses into a full scale scuffle that makes the Wars of the Roses seem to be Family Feud. 


Following chief Peter Jackson’s mid 2000s film set of three of Tolkien’s show-stopper, Martin was sought by makers to transform his books into “the following Lord of the Rings establishment.” But the Thrones story was too large, and would-be partners recommended slicing it to zero in exclusively on Daenerys or Snow, for example. Martin turned them generally down. His story’s breadth was the point. 


Two middleweight writers, David Benioff and D.B. Weiss, had reached a comparable resolution and gotten Martin’s favoring at what the creator calls “that popular lunch that transformed into a supper, since we were there for four or five hours” in 2006. The two scholars figured Thrones must be made as a superior link show, and they strolled into HBO’s office with an aggressive pitch to do so year. “They were discussing this series of books I’d never known about,” says Carolyn Strauss, top of HBO’s amusement division at that point. “[I was] someone who checked out the theater in Lord of the Rings, by any means of those riveted countenances, and I am only not on this specific ship … I thought, This sounds fascinating. Who can say for sure? It very well may be a major show.” 


HBO purchased the thought and gave control to Benioff and Weiss, making them showrunners who’d never run a show. Benioff was most popular for having adjusted his clever The 25th Hour into a screenplay coordinated by Spike Lee. Weiss had a novel shockingly as well. The two had met in a writing program in Dublin in 1995 and later reconnected in the States. “I concluded I needed to compose a screenplay,” Benioff told Vanity Fair in 2014. “I’d never composed a content, and I didn’t have the foggiest idea how to make it happen, so I inquired as to whether he would think of one with me, since he had composed a pack as of now.” It never got made. 


The Thrones pilot, shot in 2009, got off to a rough beginning. Benioff and Weiss misconceived how much arranging it would take to rejuvenate Martin’s dream. To depict a White Walker — spiritualist animals from the North — they absolutely put an entertainer in a green-screen getup and wanted to sort it out later. “You can perhaps do that assuming you’re not kidding,” says Weiss. “However, we really want to understand what the animals resemble before we turn on the camera.” They additionally experienced difficulty depicting Martin’s nuanced characters. “Our companions — truly shrewd, wise journalists — didn’t [realize] Jaime and Cersei were siblings,” expresses Benioff of the doomed previously cut. Eventually, they reshot the pilot. 


At the point when Benioff and Weiss glance back at that first season, they see a lot to criticize. Their fealty to Martin’s text, for instance, made Peter Dinklage’s Tyrion “Eminem light,” per Benioff. (His hair was subsequently obscured.) Still, the components that have made the show a beast achievement were there — and crowds (3 million for Thrones’ most memorable season finale) got on them. Seemingly the most ground­breaking component was a readiness to kill its stars savagely. Ned Stark, the ethical focal point of Season 1, depicted by the show’s then most renowned cast part (Sean Bean, who featured in The Lord of the Rings), is amazingly executed in the second-to-last episode. By the third season’s “Red Wedding,” an undeniably more grim separating, the show had gathered an adequate number of fans to send the Internet into full on go crazy mode. 


Privileged positions had by then turned into the pacesetter for TV in its all eagerness to do without a basic blissful consummation for conveying delight through severity. Regardless of whether you watch, Thrones’ characters and expressions have pervaded the way of life (the clear passing of Snow was a worldwide moving point the entire summer in 2015). Saturday Night Live, The Simpsons and The Tonight Show have parodied the show. What’s more, the new South Korean official political decision was approached a public news network with portrayals of the up-and-comers duking it out for control of the Iron Throne. 

Privileged positions had by then turned into the pacesetter for TV in its all eagerness to do without a basic blissful consummation for conveying delight through severity. Regardless of whether you watch, Thrones’ characters and expressions have pervaded the way of life (the clear passing of Snow was a worldwide moving point the entire summer in 2015). Saturday Night Live, The Simpsons and The Tonight Show have parodied the show. What’s more, the new South Korean official political decision was approached a public news network with portrayals of the up-and-comers duking it out for control of the Iron Throne. 



2. the creation 



Meandering around the Belfast set, the degree and the deliberateness of the endeavor is faltering. The wights, zombie-like animals with creepily pale faces and wearing worn out furs, structure a clean line as they hold back to get breakfast burritos. Outside the stage entryway, a couple of smoke cigarettes, cautious not to debris on their ragged in tunics. “At first we had a season with one major occasion, then, at that point, we had a season with two major occasions, presently we have a season where each episode is a major occasion,” says Joe Bauer, the show’s VFX boss. Bauer and VFX maker Steve Kullback supervise a gathering of 14 FX shops from New Zealand to Germany that work on the show persistently. 

One of those large occasions this season is a fight whose sheer degree, even prior to being cut along with the show’s commonplace brio, stunned me. To get on set, I made a deal to avoid unveiling the players or what’s in question. (Lofty positions has been promising this conflict from the start, and when the opportunity arrives, the Internet will dissolve.) It will be even more noteworthy realizing that the cast and group were shot through with a freezing North Atlantic breeze that whipped everybody during recording and sent them generally traveling to the espresso truck during resets. (The chilly, a prosthetic craftsman tells me, is really great for keeping the cosmetics on.) 


The setting is just about as amazing as the activity. The fight was recorded in what was once a Belfast quarry, depleted, smoothed out with 11,000 square meters of concrete and covered up with a disguise impact — all of which required a half year and required extraordinary biological overviews. This sort of mountain moving, or evening out, is good enough for Thrones. 


Each season begins with makers Christopher Newman and Bernadette Caulfield flowing a plot frame on a variety coded bookkeeping sheet, directing what will be shot by the show’s two synchronous camera units, which can fragment into upwards of four. It’s never-endingly subject to change, given the confusions of a network show this aggressive — north of seven seasons they’ve shot in Croatia, Spain, Iceland, Malta, Morocco and Canada as well as areas around Northern Ireland. While I’m in Belfast, my arrangement to watch Jon Snow in real life is dropped in light of harsh weather conditions (that equivalent breeze) that makes recording from a robot perilous. Right now, Caulfield will take hold of any little solace. “Presently the mythical beast doesn’t get any greater,” she says, “so we know that much.” 


Another breakdown goes out to division heads, and a huge worldwide emergency starts. Costumer Michele Clapton, for instance, starts sorting out whether or not she’ll need to dress any new characters or armed forces and afterward sets out on the most mind boggling work. “I realize that Daenerys’ dresses will take the longest,” she says. Each look, regardless of the person, may take upwards of four craftspeople to globule, fasten and — assuming there’s intended to be mileage — separate. Deborah Riley, the creation creator, starts searching for references to new areas in the diagram. Tommy Dunne, the weapons ace, begins fashioning gear for the season’s enormous fights. “My enormous thing is the numbers,” he says. “I want to believe that they will not terrify me.” He made 200 safeguards and 250 lances for last season’s legendary clash of the Bastards. 


Benioff’s and Weiss’ positions add up to keeping up with consistent discussion with various makers. The pair are generally in Belfast for around a half year a year. Any place on the planet they end up being, they get day to day video from the shoots and field a perpetual stream of messages from staff on the spot. During my visit, wolves depicted in the content as “thin and filthy” made an appearance to the shoot looking soft and radiant. All over the planet, new message notices illuminated cell phone screens. 


At the point when Benioff and Weiss aren’t shooting, they’re composing. What’s more, when they aren’t shooting or composing — which happens seldom — they’re advancing. The two make a corresponding pair. Benioff, who wears his hair in a Morrissey quiff, is the more harsh one. Weiss, with silver rings in his ears, is nerdier and given to poetic overstatement. They say they’re actually having a good time making Thrones, in spite of the stakes, yet consistently end up shocked by its scale. Weiss saw the buck Clarke rides to reenact Daenerys’ winged serpents interestingly: “We realized it would be a mechanical bull. We didn’t realize it would be 40 ft. in the air and six levels of movement with cameras that whirl.” Says Benioff: “It resembles what NASA worked to prepare the space travelers.” 


According to in spite of constant creation, Weiss, “There’s as yet a youngster in-a-treats shop feel. You will take a gander at the shield, insane astounding dresses — outfits Michele is making — then, at that point, you will take a gander at the blades, then, at that point, watch pre-vis depiction of the scenes that will be shot and you’re saying something regarding shot choice. All of these things is something we’ve been entranced with in our own particular manner since we were kids.” 


“Particularly dresses,” breaks Benioff. Weiss adds, “Particularly the outfits.” 



3. the players



The initial not many seasons of swordplay and outfits transformed the show’s cast into unmistakable stars. In any case, it’s the intricacy of their characters, uncovered over the long haul, that made them into symbols. “My companions generally tell me, ‘It resembles you’re two distinct individuals. I see articles about you in BuzzFeed’ — however at that point they see my Facebook posts,” says Maisie Williams, who plays the spitfire turned heavenly messenger of retribution Arya Stark. Williams was two days past her fourteenth birthday celebration when the show appeared. There’s TV-star well known, all things considered, and afterward there’s some-level of-23-million-individuals has-been-effectively pulling for-you-to-kill-off-your-co-stars-for-six-years renowned. 


Privileged positions’ story doesn’t request that its entertainers break terrible or great, and watchers stay tuned by and large as a result of the characters’ ethical changeability. Think about Cersei, played by Lena Headey, who is either a beast or a casualty. The person has become more well known with fans even as she’s fashioned more prominent slaughter, including exploding a structure brimming with individuals last season. “Toward the start, individuals were like, ‘Wow, you’re such a bitch!'” she says. “Moving that individuals love her now and need to be in her group.” That Headey, a Brit, involves a misrepresented American pronunciation as she conveys the more brutal translation of her work is uncovering of nothing, or a great deal. 


She’s thoroughly considered each component of her personality, however, incorporating the forbidden relationship with Jaime that gave the show its most memorable story shock. “I love to discuss every last bit of it,” she says, refering to her continuous messages to Benioff and Weiss. “Cersei’s for the longest time been itching to be him. In this way, as far as she might be concerned, that relationship is finishing. There’s been a jealousy, since he was brought into the world with honor only for taking care of business. I think their adoration was based on regard.” 


Nikolaj Coster-Waldau, the Danish entertainer who plays Jaime, is a piece less eager to examine the subject. “I’ve never truly dove excessively deep into the entire thing since I can’t utilize that data. I need to view at her as the lady he loves and wants. Lena’s a generally excellent entertainer, and that somewhat conveys the entire thing.” He adds, “I have two more established sisters. I would rather not go there. It’s simply excessively strange.” 


Indeed, even a person like Jon Snow, as near an unadulterated legend as conceivable as Season 7 starts, has grown out of the crate he initially came in. Snow, an ill-conceived youngster never embraced by his dad’s better half, is a James Dean dream of Sir Walter Scott. “I committed errors and felt that he wasn’t sufficiently fascinating,” says Kit Harington of the way he’s played Snow. We’re in a Belfast lodging bar, and Harington is pressing in an espresso before he makes a night appearing of Manchester by the Sea. “That sounds peculiar, however I’ve never been very happy with him. Perhaps that makes him. That anxiety.” His personality has been gradually retaining examples about obligation and power — and “this year there is this tremendous seismic shift where what he’s all’s realized throughout the long term, out of nowhere … ” Harington trails off. “He’s as yet unchanged Jon, yet he grows up.” 


Dinklage, as well, found in Tyrion a person who outperformed his assumptions. The entertainer says he’d never peruse dream past The Lord of the Rings. “That is the piece of the book shop I don’t actually incline toward,” he says. “This was the initial time in this classification that someone my size was a truly complex being, flesh without the truly lengthy facial hair, without the sharp shoes, without the asexuality.” 


Lofty positions launch Dinklage, the main American in the primary cast, from a very much respected film and theater entertainer to among the most-perceived entertainers on earth to some extent on the grounds that the asexuality is very missing. Tyrion yearns for wine, sex and, significantly, love and regard. As the posterity of a rich and strong family, the initial two are not difficult to get. The last not really. “He conceals it with liquor, he conceals it with humor, he puts forth a valiant effort to keep a pinch of mental stability and he continues on,” says Dinklage. “He’s as yet alive. Any individual who’s as yet alive on our show is savvy.” 


To be sure, with only 13 episodes left, the sky is the limit — coalition, destruction or crowning ceremony. “Each season I go to the last page of the last episode and move in reverse,” says Dinklage. “I don’t do that with books, however I can’t air out page one of Episode 1 not knowing whether I’m dead or not.” 



4. the show 



The size of Thrones’ debates have, on occasion, been essentially as extensive as its following. Its dependence on female nakedness, particularly Daenerys’, was an early glimmer point. “I have no apprehensions telling anybody it was not the most agreeable experience. How is it that it could be?” says Clarke. “I don’t have any idea the number of entertainers that appreciate doing that piece of it.” That part of the job has blurred as Daenerys tracked down ways to control past her sexuality. This development from a latent naïf into a sacred dread who rules by the fealty of her subjects has procured Daenerys, as per Clarke, the crowd’s dedication. “Individuals wouldn’t give two sh-ts about Daenerys in the event that you didn’t see her endure,” she says. 


More disputable still has been the commonness of sexual viciousness. Large numbers of the significant female characters have been attacked onscreen. In a 2015 succession, Sansa, the Stark girl played by Sophie Turner, was assaulted by her significant other. As per the rationale of the show, the plot gave her personality motivation to look for retribution and force of her own. It regardless created significant blowback on the web and obviously dismissed a few fans from the series for good. “This was the moving subject on Twitter, and it makes you wonder, when it occurs, in actuality, for what reason isn’t it a moving point like clockwork?” says Turner, who is 21. “This was a fictitious person, and I moved to leave it solid … Let’s take that conversation and that discourse and use it to assist with peopling who are carrying on with that in their daily existences. Quit making it such an untouchable, and make it a conversation.” 


NATALIE DORMER Margaery Tyrell

Benioff and Weiss guarantee to have seen no other conceivable result for a person abandoned in a union with a maniac, in a slanted rendition of medieval society. “It probably won’t be our reality,” says Benioff, “yet it’s as yet unchanged fundamental power dynamic among people in this archaic world. This is the very thing we accepted planned to occur.” Adds Weiss: “We discussed, is there some other way she might actually keep away from this destiny that doesn’t appear to be phony, where she utilizes her fearlessness to save herself at the last? There was no adaptation of that that didn’t appear to be totally terrible.” 

Regardless of whether Benioff and Weiss generally just own it, the show has changed. Scenes in which work is conveyed in some whorehouse, for instance, have been pared back. It’s at minutes like these that the outcome of Thrones appears to be a dubiously found some kind of harmony, flourishing with an eagerness to stun yet continuously taking a chance with going excessively far. 




5. the finish of the end 



Benioff and Weiss guarantee to have avoided perusing discourse about the show, fortunate or unfortunate. At the point when I visit them in Los Angeles in March, they’re composing the following and last season. I look into an ice chest in a parlor region in their workplaces, a room overwhelmed by a Thrones-marked pinball machine Weiss gladly brings up, to find three instances of lager with Westeros-themed names, low-calorie farm dressing and yellow mustard. Right now, they have full blueprints of the last six episodes. As a matter of fact, they’ve been dealing with the absolute last episode, conceivably the most expected finale since Hawkeye left Korea. “We realize what occurs in every scene,” says Weiss. 


The way that they know is amazing considering the show will arrive at its decision well before the books. The last new Thrones novel turned out in 2011, the year the show started. The writer depicts his next portion, the 6th of seven, as “greatly late.” “The excursion is an experience,” says Martin, who, at 68, has battled analysis that he won’t complete the books. “There’s dependably that course of disclosure for me.” But with youthful, and quickly developing, entertainers under agreement and a local area of craftsmans anticipating walking orders in Belfast, the show can hardly pause. 


Benioff and Weiss generally realized this would occur. So they met with the writer in 2013, between Seasons 2 and 3, to portray out what Martin calls “a definitive turns of events” after the books and show wander. The end result, they say, is that the two can co­exist. “Certain things that we gained from George way in those days will occur on the show, yet certain things won’t,” says Benioff. “Furthermore, there’s sure things where George didn’t have the foggiest idea what planned to occur, so we will find them out interestingly as well.” 


In anticipation of Season 7, Benioff and Weiss have gotten more possessive. That has additionally energized fans’ interest even as it has made security challenges. In the approach Season 6, paparazzi shots of Harington — and his particular in-character haircut — in Belfast warned the Internet that Jon Snow wasn’t, as a matter of fact, as dead as he’d appeared to be the season previously. “Take a gander at the fact that it is so hard to safeguard data in this age,” says Benioff. “The CIA can’t make it happen. The NSA can’t make it happen. What chance do we have?” 


It’s likewise changed the on-set dynamic. Coster-Waldau says Benioff and Weiss have “become considerably more defensive over the story and content. I think they feel this is genuinely theirs now, and it’s not to be altered. I’ve quite recently detected this last season that this is their child: ‘Simply say the words as they’re composed, and shut up.'” 


Then there’s the finish of the end, the finale liable to air one year from now or the year later. Benioff and Weiss are not composing the Thrones spin-off projects HBO uncovered for the current year that could investigate different pieces of Westerosi history — some, all or none of which might wind up on air. Meanwhile, they guarantee not to be agonizing over the public’s response to their completion. (Benioff says that with regards to final plan pressure, “drug helps.”) Weiss says, “I’m not saying we don’t consider it.” He stops. “The most ideal way to go about it is to zero in on what’s on the work area before you, or what sword is being placed before you, or the battle that is being arranged before you.” 


What’s as of now before them seems like bounty. At the point when I initially met Clarke in Belfast, she was shooting on the rear of a mythical beast. At the point when I leave seven days after the fact, she’s currently at it. “Thirty seconds of screen time and she’s been hanging around for 16 days,” the episode’s chief, Taylor, comments at a certain point. Later on, I’d recollect this snapshot of fatigue when Weiss portrayed seeing the buck interestingly. He proceeded to add, “It presumably feels a digit less astounding to Emilia, who sits on it for eight hours every day, six weeks straight, getting impacted with water and phony snow and whatever else they choose to hurl at her through the fans.” The table with the coffee machine — just past Clarke’s view — is very much dealt. 


Clarke doesn’t appear to be irritated, however, grinning and talking with the team from on the buck. As the cutting edge water power move her into position, her stance shifts from millennial downturn to ramrod straight. In a moment, she changes over herself into the leader of the made up space around her. On prompt, she investigates her shoulder with a face of marble. She projects into an envisioned world some inclination known exclusively to her. She’s looking into a future that, in the glinting minutes that the story stays confidential, no one but she can see. 


Clarke: Jean Paul Gaultier Haute Couture outfit and neckband, VV Rouleaux silk blossoms, Simon Harrison studs, Dolce and Gabbana ring; Coster-Waldau: Joshua Kane coat, Burberry shirt, Richard James scarf; Headey: Giambattista Valli Haute Couture evening outfit, Dolce and Gabbana hoops; Dinklage: John Varvatos suit and shirt, Linda Bee at Grays Antiques pendant; Turner: Gucci dress; Weiss: Dries Van Noten suit, COS shirt, Hardy Amies tie; Benioff: Hardy Amies suit, COS shirt, Burberry tie; Williams: Valentino dress; Harington: Charles Jeffrey LOVERBOY suit coat and shirt 

On the Cover: Harington, Coster-Waldau: Dolce and Gabbana suits; Clarke: Dolce and Gabbana dress and fine gems, Vicki Sarge choker, VV Rouleaux collar; Headey: Dilara Findikoglu dress, Garrard fine adornments, Erdem boots; Dinklage: John Varvatos suit 


Rectification: The style credits going with the first adaptation of this story misquoted the coat worn by Nikolaj Coster-Waldau. It is a Joshua Kane coat, not a Thomas Sabo coat.  

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