married to Lord Tyrion Lannister. To prevent the Lannisters from claiming Winterfell through Sansa's child by Tyrion, Robb, against the opposition of his mother, disinherits Sansa and signs a decree legitimizing his bastard half-brother Jon Snow as his heir if he happens to die with no children, and requests the Night's Watch release Jon from service. Robb then entrusts the decree to Lord Galbart Glover and Lady Maege Mormont, sending them to make contact with Lord Howland Reed so that he can launch a coordinated attack to recapture the strategically crucial Moat Cailin. At The Twins, the Northern convoy, who are treated with bread and salt (thus promised guest rights and safety), are betrayed and massacred by House Frey and House Bolton during the wedding feast in an event known as the "Red Wedding". Robb is shot by crossbow bolts multiple times, and then personally murdered by his chief vassal Lord Roose Bolton, who has secretly defected to the Lannisters in reward for being named the Warden of the North. After his death, the Freys mutilate Robb's body by sewing the head of his dead direwolf Grey Wind onto his decapitated corpse. His mother, as well as his entire northern army (save for the Boltons and Freys), are also murdered. TV adaptation Robb Stark is portrayed by Richard Madden in the television adaption of the series. There are some slight differences between Robb's TV portrayal and the book version. Due to the child characters' ages being increased, Robb's age is changed from fourteen to seventeen-years-old at the start of the series. Instead of marrying Jeyne Westering, he marries a healer from Volantis named Talisa Maegyr, who is also killed during "The Red Wedding". And while Robb is a background character in the books, not having any chapters told from his perspective, he is listed ahead of Michelle Fairley, who plays POV character Catelyn Stark in the books, in the opening credits of many episodes, and we see the Stark's storyline in seasons two and three revolve more around Robb in the viewers' eyes as opposed to the readers'. James Poniewozik comments in TIME, on Madden's performance in "The Pointy End": "both the script and Richard Madden show in deft, quick strokes how the crisis focuses him. (This is another case where having a live actor does a better job of showing a transition that seemed more abrupt in the book.)"