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| NOOOOOOOOOOOOO!!!!!!!!! |
Well.
You know how disappointed we are when finales are dull, with too many threads left dangling, not enough twists, and a ho-hum ending that makes you wonder if you'll even return for the next season? In the future, perhaps I'll be a little more thankful. When the death of character that's been recurring for five years becomes the sixth most shocking thing that happens this week, you know we have a
lot to cover.
Oh who am I kidding... as shocking and upsetting as some of these things were, what a THRILLING episode this was!!
Before we begin, however, I just wanted to return one last time to the Sansa scene from a few episodes ago. One of the best responses to
our post that I received was from a friend of mine, Deanna, who suggested I read a book called
One Hour in Paris by Karyn L. Freedman, about the author's horrifying experience of being raped at knifepoint, and how that one hour of her life has shaped and traumatized the 25 years that have followed since. I picked it up and I'm almost finished, but I wanted to give the book a mention here within the context of what happened to Sansa. If you truly want a real-world version of the rapes we've seen depicted in movies and on television, this book isn't an easy read, but really forces you to look at it from the victim's point of view. Not just the hour of agony she endured, but the repercussions of what something like that does to you. I'll be watching Sansa next season to see what she's like post-Bolton (or what I hope is post-Bolton). Perhaps she and Theon can help each other try to find some peace after what they've gone through.
But on to the finale. As always I'm joined by my loyal knight,
Sir Christopher Lockett, who will take my squees and bend them into something comprehensible. Sadly I drew the short straw this week, so I have to begin...
Nikki:
I have begun this first pass 15 different times...
I don’t even know where to begin. (I even tried one that was simply, “Wow, that
was quite the episode, what did you think, Chris?” just to avoid having to go
first...)
We’ll get to the ending of this episode in
good time, although I can’t promise that I won’t mention it once or twice. I
mean, for god’s sakes, I’d invested so
much in that character! I thought everything was going to come down to
him!! It’s one thing to kill off Ned Stark after one season as a big shocking
ending, but to build up Jon Snow as this man of mystery with a big secret in
his past and then... ah, we were just kidding folks, sorry you took so much
time theorizing who his real parents were: he was just a red herring. Run along,
now. I honestly thought he was the son of Lyanna Stark, Ned’s sister, with
Rhaegar Targaryen. I thought he was the last male Targaryen, with lineage
leading to the Starks after all.
Bah.
But more on that later. Let’s open with the
fallout of What Stannis Did last week to Shireen. I don’t have to remind you of
the horrific action he took in the name of becoming even more powerful than he
already was. And even as we were watching it, you couldn’t help but see the
look of disgust and horror on the faces of Stannis’s followers. So, despite the
episode opening with a triumphant Melisandre, noting that the ice is beginning
to melt and that must be a sign from the Lord of Light that Stannis’s sacrifice
was a worthy one, he can’t exactly do much fighting if half his army has
deserted him. Without sellswords — or horses, for that matter — Stannis isn’t
exactly going to be a formidable foe on the battlefield. When Stannis gets the
news and darts a look at Melisandre, she looks confused, then closes her eyes
as if wondering if she might have made a wee error in judgment last week. When
another soldier approaches Stannis with news — “It can’t be worse than a
mutiny,” says Stannis naively — he’s led to Selyse’s body, where she’s hanged
herself either out of agony of losing her daughter to her husband’s ambition,
or to avoid having to tell him that whoopsie, she wasn’t actually your baby and
therefore had no king’s blood... or both. AND THEN, while he’s watching his
wife’s lifeless corpse get chopped down from a tree, a third messenger informs
Stannis that Melisandre has apparently decided she hitched her cart to the
wrong horse and has abandoned him, too.
Well THIS is turning out to be a terrible,
horrible, no good, very bad day for Stannis, now, isn’t it? (Maybe you
shouldn’t have tied your daughter to a fucking wooden stake and burned her, you
dickhead.)
And so, like the Monty Python knights, Stannis’s
army marches on Winterfell sans horses — though, sadly, no one thought to click
some coconut shells together for mere effect — and think they’ll somehow scare
the Boltons into surrendering. Stannis has given up at this point: you can see
the look of resignation on his face, the lack of determination as he
practically shrugs before drawing a sword to run to his inevitable death.
A few minutes and several thousand deaths
later, the Boltons are victorious, but Stannis has somehow persevered, and we
watch how, if he just hadn’t been taken in by Melisandre and her Lord of Light
voodoo, he could have been unstoppable. But after getting stabbed in the gut
and the leg, he’s unable to go any further, and falls against a tree.
And that’s where Brienne finds him.
I’ve been waiting for most of the season
for Brienne of Tarth to play a more major role in the goings-on, and instead
she’s spent most of the season leaning against a wall, staring at a window for
any sign of a distress light (I found it rather cheesy that the very moment she turns her back, the
window lights up with Sansa’s candle...) but in this incredible scene, she
shows that the name of her sword — Oathkeeper — is an apt one indeed. For not
only has she found herself on the edge of Winterfell to keep an oath she made
to a woman who is now dead, but she kills Stannis Baratheon in the name of
Renly Baratheon, to whom she made an oath that predated the one she made to
Catelyn, and she now gets to follow through. Stannis looks up at her, and one
can only imagine what is running through his head — My seat on the throne was compromised by that blonde harpy in King’s Landing
whose bastard son is now sitting on it. My main foe is a silver-haired mother
of dragons in Meereen. I gave up everything I had, everything I loved, for a
redheaded madwoman who promised me everything. And now I’m about to be killed
by a giant woman in a suit of armour. Well colour me thrilled.
But he no longer has anything to live for;
if anything, the sudden arrival of Brienne is merciful for Stannis; his only
other option was to lie there bleeding out, or, more likely, to be captured and
tortured by the horrific Boltons. With the knowledge of the unforgiveable thing
he did to his daughter — her screams still echoing in his head — and the
desertion of his men, his wife, and his god, he has been reduced to nothing.
Now, with Stannis gone, there’s one less
person in line for the Throne, and the puzzle pieces once again realign. My
money would have been on Jon Snow except for ONE LITTLE THING. Later, later.
Meanwhile, over in Winterfell, we finally get the return of Theon and a
hint that he just might have some balls after all. What did you think of these
scenes, Chris?
Christopher:
Like you, I thought it more than a little contrived
that Brienne would desert her post just seconds before Sansa’s candle became
visible. Of course, once Podrick sees Stannis’ army on the march, you know exactly what is about to happen.
Quite frequently the writing on this show has been surperb … this was not one
of those moments, but was rather totally hackneyed and hamfisted. I would have
preferred Brienne seeing Sansa’s candle just as Podrick brought the news, and
having her make a painful choice between oaths—for after all, which one is more
sacred to her? Her oath to Catelyn, or her oath to Renly’s memory? How much
more dramatic tension would ensue if we’d seen her struggle and then say
“She’ll still be there,” and run off to kill Stannis? For a show that, at its
best, is often about impossible choices, they missed a great chance to put one
to Brienne.
It’s funny that you took so many tries to
get started on this post—my principal thought when the credits rolled was
“well, thank the gods Nikki has to lead us off.” The one thing that did occur
to me as I reflected on everything that happened was that, aside from Tyrion
and Varys’ muted but happy reunion, the happiest ending in this episode was
Cersei’s. Think about that: though she endured unspeakable humiliation and
indeed torture as she made her naked walk from the sept to the Red Keep, she
was welcomed with an embrace, the relief in knowing that she wouldn’t have to
endure another moment in her cell, and hope. Whereas Daenerys ends up
surrounded by a circling Dothraki horde, Arya pays for her assassination with
blindness, Sansa and Theon leap off a very
tall wall, Jaime Lannister watches his daughter die in his arms, Stannis
watches his ambitions crumble before him, Brienne has her revenge at the
expense of losing Sansa, and Jon Snow …
Yeah, you’re right—we’ll come to that last
one in a little bit.
For a show that has never hesitated to
leave us with our stomachs in our mouths and the prospect of spending nine and
a half months waiting for the next season in the fetal position, they’ve pretty
much outdone themselves. By a magnitude. The number of people in my Facebook
feed saying “Fuck you, Game of Thrones!” or something to that effect was quite
amazing (if unsurprising).
That being said, I don’t think all things
are quite as dire as we may imagine. But I will come back to that thought.
I’m reasonably certain that people will
agree when I say that one of the most satisfying moments in this episode was
when Theon knocks Myranda off the walkway to her death. In an episode with
somewhat uneven writing, I thought they hit all the right notes here. The
question until now has been what would shock Reek out of his stupor and let him
be Theon again? We’ve seen some of Theon burble up to the surface here and
there this season, such as when he’s required to name himself properly at
Sansa’s wedding and, more importantly, when he confesses to her that her
brothers are actually alive. But these moments have been ephemeral,
overshadowed by his betrayals.
But Myranda’s gloating speech to Sansa
detailing how dire her future would be once she tattled on her was too. “If I’m
going to die,” Sansa says, looking over Myranda’s shoulder at Theon, “let it
happen while there’s still some of me left.” But no, Myranda says: Sansa’s
father was Warden of the North; Ramsay needs her. “Though I suppose he doesn’t
need all of you. Just the parts he’ll use to make his heir—until you’ve given
him a boy or two, and he’s finished using them. Then, he’s got incredible plans
for those parts.”
If anything was to break Reek out of his
reverie and bring back Theon, it was this threat. In her moment of sadistic
triumph, Myranda inadvertently said the very words necessary to re-masculate
Theon, rehearsing for Sansa the very hell he endured at Ramsay’s hands and
finally cracking the façade of Reek. After throwing her down to the distant
ground below, he and Sansa take hands and make their own leap on the other side
of the wall—but theirs is a leap of faith. And though he dispensed with
Myranda’s threat, it isn’t a heroic rescue: they jump together, hands entwined,
siblings once more.
One only hopes that there is a big-ass
snowdrift beneath.
If Myranda’s death was one of the
satisfying moments of the show, Arya’s dispatching of Meryn Trant has to be
another. This scene was not what I was expecting, not exactly—certainly it was
bloodier and more brutal than I’d thought, and it was followed by Arya’s
punishment for taking a life she had no sanction to take. Here it squares up
with the novel: after killing someone on her own whim, she is rendered blind.
But in A Feast for Crows, she merely
wakes up without sight. Here, the scene—as she rips face after face off the
corpse at her feet, finally coming upon her own—is far more fraught (and indeed
terrifying). What did you think of Arya’s scenes in this episode, Nikki?
Nikki: And even if you DON’T subscribe to the idea that Jon Snow is a
Targaryen, wouldn’t those black locks insinuate he’s perhaps Robert Baratheon’s
son? Maybe Robert consummated his love with Lyanna after all? I mean... come on.
Now, I will admit, as soon as it happened,
my husband immediately said, “Welp. There goes Jon Snow,” and I simply would
have none of it. I said no, there’s no way there goes Jon Snow, he’s going to
live through this one because he is too
damn important. And then Olly — the one I knew was trouble as soon as first Jon and then Sam dismissed him
with a chuckle and a ruffle of his hair when he was trying to explain to them
what it’s like to watch his parents be slaughtered in front of him — stuck that
dagger right in Jon’s heart (the appropriate spot for it, coming from a boy Jon
has come to care about) and my husband went, “Nope. Jon Snow is deader than
dead.” I still can’t accept it.
Anyway... let’s not discuss that just yet,
of course. (Ahem.)
Arya’s scenes were stunning. First you see
the despicable Meryn Trant whipping the little girls while planning to do
unspeakable things with them, and the third one doesn’t even flinch. With her
head down, her hair swirled around her face, it was clear they were hiding her
identity, and I said to my husband, “Heeeeere’s Arya!” in my best Shining impression. And then she looked
up, and he said, “Nope.” And I was confused but then at the same time we were
like, “Ooh, ooh, what if she’s a faceless person now??” and sure enough...
theeeeeere’s Arya! The swiftness with which she leapt on Trant, stabbing him in the eye (which was awesome), before
pulling out the knife and stabbing him in
the other eye (HAHAHAHA!) and then stabbing him everywhere made me wonder if this was actually a dream sequence,
because how often on Game of Thrones
does something actually happen that you WANT to happen? But the scene kept
going, not pausing to cut to Arya sitting up in bed, covered in sweat. Instead,
she continues stabbing Meryn before finally pulling an Inigo Montoya, pausing
to tell him, “My name is Arya Stark. You killed my dance instructor. Prepare to
die” and then slicing his throat. Wow. Five years of promise that Arya’s
character has had, from her lessons in swordfighting to the way she somehow
stayed alive all this time despite all the odds, paid off in this one scene.
Not that Jaqen was thrilled about it.
She
owes the Many-Faced God a debt for Jaqen having been her saviour all the way
back in season two, and she’s here in the House of Black and White to pay that
off. She wants to become a Faceless Person (is it Man? I’m confused by the
gendering of this term when the only other person there besides Jaqen is a
female) but as long as she has hatred for someone because of what that someone
did to Arya Stark, she cannot be No One. And so he takes away the one person to
whom Arya still has a tie in this world — himself. (Me: “NOOOOOOOO!!!”) Or so
she thinks. As Arya begins flipping the faces off the corpse, one by one — in a
brilliant effect that is one of the more startling things I’ve seen on this
show — it runs through the people she’s washed, the people whose faces she’s
seen, until finally resting on her own. And in that moment she discovers what
Jaqen means when he says a debt must be paid — an eye for an eye. She stabbed
Meryn Trant in the eyes so he was blind in his final moments, and now she’s
afflicted with blindness for the rest of her life. It was horrifying, and
something I didn’t see coming. How will Arya survive now? Is it possible she’d
have any of the abilities of her brother Bran, who can “see” in a way other
than using his eyes?
OK, so. Selyse is dead, Stannis is dead,
Myranda is dead, and Arya is blinded. And somehow these are footnotes compared
to what happened at the end. So let’s continue this Happy Fun Parade of Death
by moving over to Dorne. What did you think of what happened there? Was it
consistent with the books?
Christopher:
In no way whatsoever. At this point, the Dorne
story bears about as much resemblance to the books as Tyrion does to the
Mountain.
Last week I suggested that those saying the
Dorne storyline was pointless were likely mistaken—that it looked as though,
with Trystane and Myrcella’s engagement firm and him promised a place on the
Small Council, that Dorne had secured a not-insignificant niche in the story to
come. Well … one way or another, I think Dorne has a substantive role to play
in seasons to come, but for obviously very different reasons now. Unless
Myrcella makes a surprising recovery in season six, the marriage pact between
Lannister and Martell is just so much dust; and I doubt it would take a genius
to deduce that Myrcella’s poisoning was the fault of Ellaria (certainly not if
they’ve ever watched the episode of Firefly
when Saffron uses her drugged lipstick to knock out Mal). One way or another, I
suspect war between Lannister and Martell is imminent.
And once again, Weiss and Benioff appear
determined to one-up their source material in terms of giving and taking away.
Last week, Stannis betrayed the loving conversation he’d had with Shireen
several episodes earlier. This week, Jaime has all of seconds to rejoice in his
daughter’s recognition and acknowledgement of his paternity. It really is a
poignant scene, made all the more so by Jaime’s bumbling attempts to preface
his revelation. But Myrcella stops him mid-bumble: she knows, she tells him;
she’s known for some time. “I’m glad that you’re my father,” she tells him, and
the look on Jaime’s face is heartbreaking … or rather, it shortly becomes
heartbreaking as Ellaria’s poison takes effect, and she collapses into his
arms.
Cut back to the dock where Ellaria and the
Sand Snakes silently watch the boat recede in the distance. Ellaria’s own nose
starts to bleed, and is impassively tended to by her daughter. Last week we
pondered whether Ellaria’s comments to Jaime—in which she said that Dorne cared
not a whit that he and Cersei were lovers—signaled a détente or hinted at a
deeper threat. Well, now we know … and I have to wonder now if Myrcella’s
certainty of her parentage was cemented in Dorne, by Ellaria or similar people
who told her in the guise of open-mindedness of her mother’s incestuous
relationship.
One way or another: I really, really want to see these characters in
future seasons.
After Dorne we move to a dejected throne
room in Meereen, where Tyrion, Daario, and Jorah engage in a collective mope.
“You love her, don’t you?” Tyrion asks, and it is obvious the question is
directed at both of them. “How could you not? Of course, it is hopeless for the
both of you—a sellsword from the fighting pits, and a disgraced knight? Neither
one of you is a fit consort for a queen.” They are joined by Missandei and a
still-wounded Grey Worm, and after a bit more comic banter (my favourite line
from this episode is “My Valyrian is a bit nostril”), they get down to the big
question, the elephant in the room—what to do with Daenerys gone? How to run
the city?
Well, at least they’ll have Varys with
them. What did you make of the Meereen scenes, Nikki?
Nikki: Haha! I was texting a friend today and we were both like, “Our
Mrs. Reynolds!!” regarding the lipstick scene. I wonder how many other fans
noted the Firefly moment there.
Speaking of fiery redheads (didja see what
I did there??), I can’t help but think a certain redhead on this show might be
the one to change the fate of our poor dead friend at the end of the episode.
It can’t be a coincidence that she showed up at Castle Black hours before the
guy was killed. (Yes, this is what absolute denial looks like.)
But anyway, as you mentioned, the Meereen
scenes were the short moments of humour we got in an episode that didn’t
otherwise have much of it. We have here the man who loved her but it was
unrequited, the one who bedded her, and the one who wants to help her topple
his own family. As they stand up and begin to bicker, it’s like watching a
Three Stooges routine. Tyrion’s the only one who doesn’t have a torch for
Daenerys, and therefore the other two vote him off their road trip. At first
Tyrion looks shocked, until Daario asks him if he’s ever tracked animals (no),
can he fight (not really), is he good on a horse (middling). “So... mainly you
talk,” Daario concludes. Tyrion nods his head, “...and drink. I’ve survived so
far!” Daario illustrates for everyone present that Tyrion simply wouldn’t be an
asset to the search party. But he would
be useful as someone left behind to govern Meereen in Dany’s place, since,
among all of them, he’s the only one who knows anything about actually
governing a people. And he’s proven himself to be good and fair (Mormont is
pissed that Tyrion had him exiled once again, but seems to have forgotten that
he successfully negotiated for Jorah’s life to be spared).
Jorah disagrees at first — “He’s a foreign
dwarf that barely speaks the language, why would anyone listen to him?!” — but
Daario proves he’s more than just muscle when he continues to convince everyone
that this is the right thing to do. He assures them that Grey Worm is the one
whom the Meereenese people will listen to. (I agree that the “nostril” line is
hilarious, but my favourite line of the episode is Daario saying that Grey Worm
is the “toughest man with no balls I’ve ever met.”) Missandei is the woman
Daenerys trusts above all others, so she completes the new triumvirate.
I thought at first this was how we were
going to leave our favourite imp, until he walks outside and sees the beginning
of the Daario and Mormont road show beginning on the road below. And then the
line, from behind Tyrion, in an unmistakable voice, “Hello, old friend.” You
know, I didn’t know how much I missed Varys until I heard his voice. I squeed
very loudly when that happened. Remember: the last time we saw Varys this
season was in episode 3, right before Tyrion was captured by Ser Jorah and
taken away. When he’s on screen, he’s scintillating, but because he’s not a
major player in the game of thrones, we can forget him when he’s not there.
Now, I realized the only thing better than Daenerys ruling with Tyrion by her
side would be Tyrion ruling with Varys by his side. Tyrion asks for his advice
on the spot, and Varys says basically, know the difference between your friends
and your enemies. “If only I knew someone with a vast network of spies,” Tyrion
jokes. “If only,” Varys echoes, his head tilted comically.
“A grand old city, choking on violence,
corruption, and deceit. Who could possibly have any experience managing such a
massive, ungainly beast?” says Varys with a twinkle in his eye. Tyrion looks at
him, and back out over the city with a smirk. “I did miss you,” he says. And so
did we. I think seeing these two manage Meereen might be the thing I’m most
looking forward to in season six. (Aside from the resurrection of Jon Snow, of
course...)
And from there, we see where Dany ended up,
and I must admit, her story left me with a ton of questions: were those
Dothraki who surrounded her? And why did she drop Khal’s ring on the ground?
Was it to hide the fact that she was the Khaleesi in case these were enemies of
his, or was she leaving a signal to someone else on how to find her?
Either way, I’m thinking she’ll need some
bleach for that dress.
Christopher:
They’ve ended Daenerys’ story on a slightly
different note than in the novel. In A
Dance With Dragons, she’s just sort of along for the ride as Drogon wanders
around the countryside. The first indication of the approaching khalasar is a herd of wild horses
preceding the riders, one of which Drogon burns and proceeds to eat. Daenerys,
at this point starving (she’s been gone from the city for at least two days)
helps herself to some of the charred horseflesh. It is in this way, with her
dragon beside her, that the Khal and his men find her.
In the novel, the Khal in question is
Jhaqo, who was one of Khal Drogo’s lieutenants, and who claimed a sizable chunk
of Drogo’s people after he died. Here, we’re not certain: the Dothraki come on
Daenerys suddenly, catching her alone. I have to imagine she drops Drogo’s ring
so they do not identify her, though it could also be a signal to whoever
searches for her. One of the things we learned about Dothraki culture in A Game of Thrones was that a khaleesi was expected, on the death of
the khal, to go and live out her
years in the Dothraki city Vaes Dothrak as part of the dosh khaleen, a group of widows who also function as seers. That
Daenerys refused to do so was a great point of contention with her bloodriders
… until she survived the fire and found herself with three dragons, which kind
of changed the calculus.
Finding her out in the middle of the
Dothraki Sea, rather than in her proper place, Khal Jhaqo will undoubtedly be
confused and angry, but then with Drogon beside her, he can hardly complain.
But that’s the novel: in the show, they’ve separated Daenerys from her dragon
(who has gone from being a fearsome beast to a sulky cat), and we don’t know
who the leader of these Dothraki is … or whether any of them are from Drogo’s
fractured khalasar and will recognize
her. I don’t know where they plan to go from here. I suppose the obvious thing
will be that the Dothraki abduct her and ride off, and we’ll have an episode or
two that plays out like the chase scene in The
Two Towers, with Jorah and Daario playing the parts of Aragorn et al to Daenerys’ Merry and Pippin;
during which, presumably, Drogon will be conveniently absent, and they will
find Drogo’s ring in much the same way Aragorn finds Pippin’s brooch (if Jorah
says something that’s a variation on “Not idly do the leaves of Lorien fall!”
my head might actually explode).
Or … maybe she’s recognized and something
else happens entirely. I’m just spitballing here.
We have, however, come definitively to the
end of Daenerys’ story in the novels. Similarly, we’re more or less at the end
of Cersei’s as well. Her long, humiliating walk from Baelor’s Sept to the Red
Keep is depicted almost precisely as it is described in the novel. And once
again the show demonstrates that it is able to shift our sympathies quite
deftly: for many episodes we waited eagerly to see if Cersei would get her
comeuppance, and it was deeply satisfying to see that smug smirk of hers wiped
off. But somewhere early on in her walk of shame, it is difficult not to feel
sorry for her and to hate the self-righteousness of the Sparrows (well, hate it
even more than we already did).
And kudos to Lena Headey for going the full
monty, especially considering that there was nothing sexual about her nudity in
this scene. Indeed, this was one of the rare sequences on this show where
nudity is employed not to titillate but to engage our sympathy. We’ve written
previously about how Cersei has lost everything: her beauty and her name were
her weapons in the past, but here she is literally stripped of everything, and
however beautiful she is, her exposure before the hateful mob is appalling to
watch.
What did you think of Cersei’s ritual
humiliation, Nikki?
Nikki: This is a scene that’s really tough for me to write about,
actually. The internet exploded in outrage over Sansa’s rape, and you and I
tried to write a reasonable piece about how the camera was used brilliantly,
not actually showing things but making us realize what was happening, and that
it was a representation of a very real thing that still happens today. When
Shireen was killed the internet exploded with outrage and once again the cries
of “I am never watching this show again!” rang out across the land, and you and
I discussed how this was horrifying to watch and changes our view entirely of
Stannis, and clearly it set up the massive one-fell-swoop downfall he underwent
in this week’s episode.
And then we come to this moment. What a
moment it was. It was like something out of Ken Russell’s The Devils, so over the top and almost surreal. The camera angles
were different than anything else on the show, right from the moment we join
Cersei in her cell and that horrible nun-like woman comes in once again to tell
her to CONFESS. (I can’t even count how many films and TV shows I’ve seen where
there’s a scene of someone representing the Catholic church or some sort of
religious order meant to evoke it, screaming “Confess!” where it’s played out
like a horror film.) And Cersei does. (Mostly.) As she prostrates herself
before the High Sparrow, there’s a moment, as you said Chris, where we as
viewers start to think of everything this horrible woman has done to people
around her, and we smirk, happy that she’s finally being brought down off that
high horse of hers. In season one she ordered Jaime to push Bran out the window
and he did. Then she tried to have Bran killed. She arranged the murder of her
husband, then convinced Joffrey to kill Ned Stark, then was absolutely horrible
to Sansa. She knew her son was a psychopath, and encouraged his behaviour at
every turn. She tried to have her little brother killed, and now she’s stupidly
put a religious cult in charge so she can nail Margaery and the Tyrells.
And now it’s come back to bite her in the
ass.
There’s another side to Cersei. The woman
may have been part of one of the most powerful families in the kingdom, but
where her twin brother was lauded as a great knight and her little brother
allowed to be a drunken lout, she was married off to a despicable man who never
loved her, who pined after Lyanna Stark and openly caroused right in front of
her. The man she loved was her own brother, and she’s kept this dark secret
close to her chest, having to watch her children grow up and be called bastards
by everyone who knows how to add two and two together. And when she finally
stands up and gets rid of that drunken, whoring husband of hers and puts her
beloved son on the throne, her father arranges for her to marry a man that
everyone knows is gay. She loves her children more than anything, and her son
is killed in a political manoeuvre, her daughter shipped off to marry an enemy
just as she’d been forced to do (and she’s about to get the terrible news of
how THAT ended).
And so we come to the long walk of shame.
After we see Cersei “confess,” we can’t help but snigger that she thought she
was going to shame Margaery and Loras for his homosexuality when what she’s
done in her life — murder, conspiracy to murder, attempted fratricide, incest —
makes Loras look like the High Sparrow. But we can’t help but think that Cersei
has been used and abused by a thoughtless father and culture that doesn’t
exactly uphold women, and it’s not surprising that in those few moments where
she doesn’t feel powerless, she takes advantage of them to rise up over the
others.
And here she is, hoist by her own petard,
brought out before the people of King’s Landing, the very fleabags stuck in
Fleabottom, who’ve despised her and her family for years as they lorded over
them, as Cersei would always hold her hankie over her nose when having to walk
amongst them, living her excessive and depraved life while these people are
desperate for food and water. Now they get the chance to show the Lannisters
what they really think of them — who can blame them for what they end up doing
to her? Her beloved golden locks, which have always been such a big part of her
character, have been nastily shorn from her head, and then her potato sack is
yanked off her and she stands before them, naked.
The walk itself was hard for me to watch.
Oddly, it was harder for me than watching the Sansa rape or even... no,
actually, I don’t think anything could be harder than watching Shireen’s death.
But in a way, it was. Because in both of those instances, the people were
acting. The camera pulls away from Sansa so she doesn’t have to actually be in
a rape scene. Shireen wasn’t actually
burning at a stake. But Lena Headey had to parade down a street filled with
extras who were told to throw things at her, and had to do it over and over and
over for hours on end. And the scene goes on forever, as Cersei first walks with her head held high, as if to say,
“Fuck all of you. Check out my hotness.” And it’s utterly silent, except for
that witch behind her ringing the bell and chanting, “Shame! Shame! Shame!” Cersei
continues along the cobblestone streets, the jagged rocks slowly cutting into
her feet, and then finally one person has the balls to yell a pejorative term
at her that I just can’t bring myself to type (there are, like, three words in
the English language I just can’t say, and that’s one of them, though my
British friends are brilliant at using it), and the rest of the crowd unleashes
on her. They call her a whore, and a bitch, and a slut. Someone spits on her, then
mud comes flying, then various bits of rotten food. By the next street people
are dumping their chamber pots on her, and Cersei can no longer hold her head
high. She falls at one point, the rocks having cut her feet to shreds. Suddenly
her back is slouching, her head dropped, as she tries not to cry but can no
longer keep from doing so. This is humiliation beyond anything she could have
imagined, and how the High Sparrows and his fucking legions somehow think
they’re better than the people they shame is beyond me, but what’s done is
done.
Did the scene have to go on so long? I was
saying to my husband that by the time it’s in its third minute, I was very
uncomfortable. I imagined Headey having to film the same areas over and over.
Having to wash off and start over, having to descend those steps. It seemed to
be veering into the territory of a Lars von Trier film, the director who’s
known for treating his actresses so badly that Björk accused him of sucking out
her very soul. What made this scene so vastly uncomfortable was that, unlike
Sansa’s rape and Shireen’s death, this was moving from fiction into
non-fiction. Sophie Turner wasn’t acually raped; Kerry Ingram wasn’t burned at
the stake. But in this scene, we were watching an actress who was actually
completely naked, having things thrown at her, people spitting in her face and
shouting nasty things at her. And we watched her do it for what seemed like an
eternity. Yes, they were abusing a fictional construct called Cersei, but the
actress herself had to actually go through the agony of filming the scene.
Now, I should probably say here (because I
know 10 people will say so in the comments if I don’t) that I noticed a moment
— just a glimmer — at one point as Cersei was coming down the street where it
looked like her head moved in a strange way. So I checked online, and sure
enough . . . turns out that wasn’t Lena Headey. She has a no-nudity clause in
her contract, and refused to do the scene. So a body double was brought in, and
that’s who you see from behind and above. When you see her in front, they’ve
CGI’d Headey’s head onto her body. And now that I’ve gone back and watched the
scene one more time, I think they did a rather brilliant job. With the
exception of that one moment where the head bobbed in a funny way that wasn’t
consistent with the neck, which was the tip-off for me, you wouldn’t have known
if you hadn’t, um, been staring at her head. (When I was chatting with a
friend, he said he knew it definitely wasn’t her from behind because apparently
Headey has a large tattoo on her back.)
So does that make it easier to take? Headey
was able to do the scene over and over, probably wearing a nude-coloured
bathing suit like the one Maddie Ziegler wears in Sia’s “Chandelier” video. But
the body double? She was naked. And that still means, whether it was Headey or
someone else, a woman had to actually go through that to ensure that the scene
was caught on video for all of us to watch and be reviled by it. So I found the
scene very unsettling.
But... there’s always a but... just as I argued with Sansa, it’s
because of how difficult it is for us to watch that this scene is just so damn
effective. They paraded the High Septon through the streets and he kept his
bits covered with his hands, even if they kept whacking his hands away, and his
scene lasts only a few seconds. Cersei’s scene, on the other hand — she’s
disrobed at the 45-minute mark, when they wash her body (watch how the body
double keeps Cersei’s hair in her face the entire time), then her hair is
chopped, and then she’s brought out before the people and walks to the Red
Keep. When she finally arrives and has a blanket thrown over her, we’re at
53:30. Eight and a half minutes. That’s a really,
really, long time. Cersei keeps her
head up and never covers herself with her hands because that’s who Cersei is.
She believes she has nothing to hide and shows it in her very body language.
We, the audience, must endure this scene because we’ve reviled her for so long,
but we need to watch the slow destruction of this character. In eight and a
half minutes, she’s brought from Cersei Lannister to someone lower than the
lowest peasant in Fleabottom. We need to watch her shoulders begin to slump,
her feet bleed, the way she begins to trip and fall. Her cries of pain, her
whimpering, the constant call of “Shame!” and the bell ringing. Our sniggers
turn to sympathy, and we’re made to feel the way Cersei is feeling. And we
watch the extraordinary depths of the sadism of the Sparrows. You just wouldn’t
get that if they’d shown her descending the steps, going through the first
street, and then cutting to her arriving at the Red Keep covered in shit and
bleeding. We needed to watch every painful step.
Were they turning Cersei into a Christ
figure? Perhaps; there’s certainly something about the way she bears her cross
through the streets. The difference is, Cersei never gets a Simon. No one ever
comes out of the crowd to help lift her up and carry her the rest of the way.
No one in King’s Landing feels a smidge of sympathy for Madame Lannister.
And when she arrives at the Red Keep, she’s
a shadow of her former self. Bowed, bleeding, and weeping, she falls into the
arms of Doctor Frankenstein, who introduces her to the resurrected Mountain,
who doesn’t have much to say, as creepy Qyburn admits, but is dressed all in
armour, picks up Cersei effortlessly, and carries her to safety. And the look
on her face suddenly transforms to peace and determination. They tried to shame
her and break her, but despite it all, she’s just seen a way out, and I have a
feeling Fleabottom is about to burn.
Which brings us to the credits. Yay! Thanks
for reading our recaps each week and OK FINE. Dammit.
Which brings us back to the Wall, to Jon
Snow. Last week when I was sending the last pass over to Chris I mentioned
offhandedly that we hadn’t mentioned Jon Snow, but nothing much happened there.
He didn’t even respond. I had no idea that’s because he knew something massive
was coming and I didn’t know. Thanks for sparing my feelings, Chris, but I
can’t remember being so distraught, shocked, and betrayed by a death. Which is
why, unlike those who have declared they’re jumping ship and will never watch
again, I instead live with my denial that he’s only mostly dead, and he’ll be back. Entertainment
Weekly posted an interview immediately following the broadcast where Kit
Harington declared Jon Snow was deader than dead, and wasn’t coming back. But
he’s also a prankster who’s being paid to say that wherever he goes, so I don’t
believe that for one second. You know nothing,
Jon Snow!!
So Chris... take it away. I’m leaving this
scene for you to dissect while I go off and sob some more.
Christopher:
Well, I think it’s pretty obvious that Jon Snow is dead; the question, rather, is
whether he’ll stay dead. If he does,
well, that’s par for the Game of Thrones
course (your husband is a golfer, Nikki—would he play a Game of Thrones course?). I find it difficult to imagine, however,
especially if the most prominent fan theory about his parentage is correct.
You’re right that I knew this was coming,
as did everyone who read A Dance With
Dragons. But unlike all the other shocking deaths, I was never convinced
that this one would stick. Because Melisandre. We’ve seen the red priest Thoros
of Myr resurrect Beric Dondarrion, which apparently he’d done half a dozen
times previously. And there are other instances of this particular magic in the
novels. Given Melisandre’s particular interest in Jon Snow, I have to imagine
she’ll be on hand to breathe life back into him.
Again, this is just speculation, but this
episode went a long way to making me more confident in this prediction. In the
novel, Melisandre stays behind at Castle Black when Stannis marches. When
instead, on the show, she goes with Stannis, part of me wondered “Oh,
crap—how’s she going to save Jon?” But instead she deserts her would-be hero
and rides back to Castle Black. Why she chose there instead of, well, anywhere
else is puzzling … or perhaps not. Perhaps she wants to be on the front lines
when the Walkers come; perhaps, losing faith in Stannis, she sees Jon Snow now
as the vehicle of destiny. But the fact that she came back just in time for Jon
to get all Caesar-on-the-capitol-steps, seems to suggest that she’ll be the one
to bring him back.
Anyway … that’s my theory. So sob no more
for Lord Snow … weep and wail instead for the fact that we now have to wait
nine and a half months to see whether my prediction holds true.
The scene, I must say, was well done—and I
think I speak for those of us who knew it was coming when I say knowing made it
almost worse. Because it is far more obviously a conspiracy than in the novel.
In the novel, a handful of knights stay behind with the queen, Shireen, and
Melisandre, and for some reason one of them attacks the giant Wun Wun (and is
literally torn to pieces for his efforts). During the commotion, while Jon
attempts to cool everyone down and prevent the other knights from provoking the
giant further, he is set upon by a handful of the more querulous watchmen, men
who have been antsy about the wildlings from the start.
Here, it’s a set-up from start to finish.
The scene begins with Jon in his study reading messages sent by ravens,
discarding them one by one in a discouraged manner that suggests they’re all
negative replies to his requests for more men and supplies. Then Olly bursts in
excitedly with a piece of news that is guaranteed to bring Jon running: one of
the wildlings can tell him about his Uncle Benjen, who disappeared early in the
first season. Outside, they are joined by Alliser Thorne, who says the wildling
“saw your uncle at Hardhome at the last full moon.” He leads Jon to a cluster
of men with torches, and when Jon shoulders his way through he finds not a
wildling, but what looks like a grave marker with “traitor” written on it.
And then Act Three, Scene One of Julius Caesar, complete with Jon’s “Et
tu, Brute?” moment as a stricken-looking Olly delivers the final blow.
So: Jon Snow is assassinated, which is
consonant with the novel; the difference between how it happens in the book and
on the show, however, has huge implications (assuming, of course, that
Melisandre resurrects him—always allowing for the Ned Stark factor, in which
case I might have to burn down GRRM’s house personally). In the novel his
assassins appear to be a handful of panicking wimps who just can’t even with
the wildlings. Here, however, it looks as those most of the Night’s Watch are in on the plot—including Ser Alliser,
who is effectively the Watch’s second in command. In the first scenario, a
resurrected Jon would just have to deal with a few conspirators. In the show’s
version, however, what happens if he comes back? How does he face a unified
front of antagonists? Does this mean he’s still part of the Night’s Watch? After all, the oath enjoins you to
remain in the Watch until you die—does the assassination mean his watch is now
ended? Is this the get-out-of-jail card that frees Jon Snow up for a new
destiny, one more in line with the most common theory about his parentage?
(Sorry to be coy on this front, but I’m not sure if it’s kosher yet to say it
out loud).
Again, we must now wait nine and a half
months to find all this out.
Just a few more random thoughts before I
close things out on my end:
- I’m not
convinced that Stannis is dead. I watched that scene a few times, and I
find it suspicious they don’t show him die, but instead cut from Brienne’s
downstroke to Ramsay’s as he kills someone. Why would she spare him? Where
did her sword go? I don’t know, but killing Stannis at this point is
either (1) a MASSIVE deviation from the novels, or (2) a MASSIVE spoiler
for what we can expect in The Winds
of Winter. Both are eminently possible, but I’m remaining skeptical
until the novel comes out or the next season of the show … whatever comes
first.
- I had
assumed that the show was simply dispensing with Sam’s journey to the
Citadel. It’s one of the main story threads in A Feast for Crows, with Jon sending Maester Aemon along to
keep the oldest living Targaryen away from Melisandre and her hankering
for king’s blood. Aemon dies on the journey, but Sam makes it to Oldtown,
the city at the southeastern end of Westeros, where the Citadel is
located. Jon’s premier reason is so Sam can take up the maester’s duties
at the Wall. Sam makes the same argument, but the timing at this point is
a bit off: one assumes training to be a maester takes several years, but
we got pretty powerful evidence two episodes ago that the Walkers’ attack
on the Wall will be sooner rather than later. Still, it at least indicates
that Sam’s travails at the Citadel will be a significant enough storyline
to keep in the show.
And there we have it. What did everyone
think of this season? Nikki? Myself, I thought it was, with the exception of a
few hiccups (the Sand Snakes’ hackneyed conspiracy, for example), about the
best we’ve seen so far. Certainly it pushed the envelope more than any previous
season, and almost certainly caused more viewers to wash their hands of the
show than ever before. But the flip side of that was its audacity, both in
terms of going off script in a host of creative ways, and in the execution of
most of the storylines.
And now we wait. Valar morghulis.
 |
| I know how you feel, Jon. |
Nikki:
And here’s my final expression of bafflement over
Jon Snow: where the hell was Ghost? That dog has always been there when Jon
needed him to be, and he’s gone. I’m concerned that Ghost jumped the men who
were trying to hurt Gilly, and they knew enough to imprison him somewhere... or
at least they’d better make that part of the storyline because otherwise it
makes no sense that Jon’s direwolf would abandon him when he needed it the
most. (And he’s not dead.)
I agree with you on this season. The way
the characters have finally begun coming together — Daenerys and Tyrion, in
particular — and storylines are crossing over and converging is something we’ve
been waiting for for a very long time. I hate to admit it, but I haven’t missed
Bran and his merry band one whit, but it’ll be nice to check in with them next
season, which I assume we’ll be doing. Arya’s story just took a dark turn; I’ll
be interested in how Cersei takes revenge on the Sparrows, and what will be the
future of King’s Landing, including Tommen, Loras, and Margaery. I’m intrigued
by your suggestion that Stannis isn’t dead! Strange how that never occurred to
me, and usually if it happens off-screen, I don’t believe it happened. Now I’m
very intrigued by the possibilities of Stannis and Brienne together, and what
that could mean.
But perhaps I’m most excited about the
Tyrion and Varys Show coming back.
This has been a rollercoaster of a season
filled with our typically VERY long posts, and I wanted to thank our readers
for hanging in there with us, and a huge thank-you to Christopher Lockett, who
manages to do this year after year and lure me back to a blog that otherwise
seems to have tumbleweeds blowing through it. Thank you, sir, and here’s to the
long nine-and-a-half-month wait! Ours is
the fury, indeed.
