We review all the commentaries on the Game of Thrones Season 6 home boxset

Episode 605, “The Door.” Commentary by Gemma Whelan (Yara Greyjoy), Pilou Asbæk (Euron Greyjoy), Ellie Kendrick (Meera Reed), and Kristian Nairn (Hodor).

• Neither Gemma Whelan, Ellie Kendrick, nor Pilou Asbæk had seen this episode before. Nairn was on it, though. He’s the go-to guy for plot explanations. But we should remember that some of these commentaries were likely recorded before the episodes aired, or immediately after.
• Again, the actors mention that the director of this episode, Lost’s Jack Bender, is a painter. He actually brought paintings onto the set. Note to hopeful directors: take up painting.
• Asbæk was recording this episode while filming Ghost in the Shell in New Zealand. “It’s interesting.”
• Ellie Kendrick on the play Arya watches: “I love it. It’s like Game of Thrones drag.”
• Speaking of the play, that smash cut to the actor’s penis shocks everyone, as it must.
• More than usual, this commentary plays like listening to a group of friends watching the episode and having a good time reacting. It’s fun—the group freaks out when the Children of the Forest create the first White Walkers, and completely lose it when the wights invade the cave—but if you’re looking for deep insight into the episode, look elsewhere.
• According to Abæk, Euron doesn’t have an eye patch, as in the books, because Benioff and Weiss thought it was a silly idea. Also, apparently there’re a couple of lines from Euron to Theon that got cut.
• Apparently, Iain Glen once played Ellie Kendrick’s dad when they both appeared in The Diary of Anne Frank. That could have been very interesting.
• Nairn: “I have a Warcraft character called Kinvara. I think she stole my name.” [long pause] Kendrick: “Cool…” [everybody laughs uproariously]
• We’ll let Gemma Whelan take us out: “We’ll miss you, Hodor! I’ll never hold a door closed the same way again!”

Episode 605, “The Door.” Commentary by prosthetics supervisor Barrie Gower, camera operators Chris Plevin and Ben Wilson, and executive producer Bernadette Caulfield.

• Caulfield on the Sansa-Littlefinger scene: “And that she makes him feel so bloody uncomfortable is just wonderful.”
• An interesting note on that scene: they’re meeting in an old brothel in Mole’s Town, “the kind of brothel that Littlefinger runs.” It’s likely the one that Ygritte and company ransacked in Season 4. That adds another layer to already twisty scene.
• There are about “45 or 50” individual faces in the Hall of Faces that are then duplicated. The old lady whose face the Waif takes on later is the face of prosthetics supervisor Barrie Gower’s mother.
• It took the better part of eight hours to get the Children of the Forest into costume and makeup. Appreciate that for a second.
• Things you don’t think about: the production had a very difficult time filming the scene where Dany bids goodbye to Jorah because a huge amount of fog rolled in right before shooting was scheduled to begin. And then, as soon as it came, it left, revealing the tremendous views. “Everybody was taking selfies on this day.”
• If you ever want to complement a behind-the-scenes film professional, ask them where they shot an interior scene. Apparently, they take a lot of pride in making sets look so good it tricks viewers into thinking they’re filming in some elaborate location.
• Fans of Brienne and Tormund will be happy to know that the behind-the-scenes professionals are hoping they end up together, too.
• Per Caulfield, the Castle Black set is the show’s oldest standing set.
• The camera operators were stuck on the Three-Eyed Raven’s cave set that they went a little stir-crazy and started communicating by saying “Hodor” to each other. It’s a weird job, working on a film set.
• Another thing you normally wouldn’t think of: the actual wolf who played Summer the direwolf was shot in Canada. Then the wolf was sized up in post and inserted into the finished footage. Bran and company are acting opposite nothing.
• It’s hard to know how many people knew about Hodor’s true origins before the script for “The Door” arrived, but no one on this commentary knew. It seems to have been as surprising to them as it was to viewers.

Next: Bloody broken nobody