Tuesday, June 16, 2015

Game of Thrones 5.10: Mother's Mercy



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.


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.


Marina said...

I completely agree with Chris about Melisandre resurrecting Jon Snow. I was less convinced yesterday when I saw the articles with Kit Harrington proclaiming that Jon Snow is deader than dead. But reading Chris' comments made me realize...Harrington could be saying that with all honesty - you DO have to be deader than dead to be resurrected. And if Jon is resurrected as Azor Ahai, then Jon Snow really would be dead...

Of course, as you say, all of this could just be a red herring and he really is dead and off the show. I still question though, if that is the case, how on earth they would really make us care about what is happening at the Wall and with the White Walkers. Overall I've found this the storyline that is the slowest and has the most uneven pacing over the course of the past 5 seasons, and without Jon Snow (or some version of him) on the Wall, I'm not sure I could bring myself to care about what's going on there. Maybe once the White Walkers make it to Winterfell...

Kiki B said...

Jon is only "mostly dead". "Mostly dead" is different than "All dead"!

First, his head is still on, so he can come back.

Two, they didn't burn him - he'd become a white walker if they didn't. I'm not sure how long you have but the Night's Watched turned and left awfully quick. Big mistake, huge!

Three, Melisandre is there and I would assume can do the same thing the Red Priest has done for Beric Dondarion. He's been brought back 9 times -- remember when he fought the Hound?

Four, I heard Kit and a few others renegotiated their contract through Season 6. :)

I also think Melisandre has determined he has King's Blood -- whether it be Targaryen or Baratheon. I think the dark hair is a clue. They made such a big thing about the book that identified the families by looks and all Baratheon's had dark hair. Was it only Targaryens with "pure" blood that had the silver white hair? I can't remember.

I did read that a body double was used for Cersei. Either way, that was a pretty powerful scene. Though for me it went on a bit long.

Great recaps as always. What is the countdown to next season?!!?!

Marebabe said...

I was just thinking some more about Syrio Forel. He was actually seen in the “Previously On” segment at the start of the finale! The little blurb with Syrio showed the start of his fight with Meryn Trant, and it was included to remind us of what Meryn had done to earn a top spot on Arya’s kill list (though it was hard to see his face with that helmet on). But it also inspired me to hope that the Syrio/Jaqen fan theory might be true.

Marebabe said...

I don't know what happened to my first comment. It up and vanished! So, here it is again.

Excellent analysis, Nikki and Christopher! And putting this together by Tuesday afternoon? Brilliant! Surprising! And much appreciated.

I jotted down a few ideas as they occurred to me. First of all, among the many cliffhangers, there are three who, as far as we know, are still imprisoned and need to be released, or at least fed regularly: Margaery, Viserion, and Rhaegal. (It’s odd that I forgot about Loras until you mentioned him. Loras, too.)

When Arya was peeling off faces one by one, I expected that we would see the face of Syrio Forel. It just shows how fully I subscribed to the fan theory that, since we didn’t actually see Syrio die, he and Jaqen H’ghar must be one and the same. Another thing about Arya seeing her own face there at the end, it was like a nod to The Empire Strikes Back, when Luke seemingly struck down Darth Vader and saw his own face under the mask and helmet.

Leaving Grey Worm, Missandei, and Tyrion to govern Meereen reminded me of The Wizard of Oz. Each has skills and qualities that will help the people of Meereen accept their leadership. Like the Scarecrow’s brains, the Tin Man’s heart, and the Lion’s courage.

For much of season 5, Drogon was off on his own adventures, no one knew where. When we caught up with Daenerys and Drogon in the finale, he was lying on a heap of skeletons, and at first I wondered where they were. But I finally figured out that he had a home base, a nest, and he instinctively returned to it when he was wounded. It’s not like Dany had a bridle and reins to guide him where she wanted to go. He went to a place of rest and comfort. He went home, which now appears to be somewhere out in the middle of the Dothraki Sea. Also, as soon as I saw Daenerys drop the ring to the ground, I assumed it was left as a token for anyone who might be trying to find her, like Pippin in The Two Towers.

So, off the top of my head, I spotted similarities with Star Wars, Wizard of Oz, and Lord of the Rings. And of course, everyone immediately thought of Julius Caesar with the stabby murder scene. There are, after all, very few truly original ideas in modern storytelling. I don’t mind. This has been a ripping good season of Game of Thrones, and it will be hard waiting for season 6. Bring it!

Elizabeth D. said...

Great analysis. Very enjoyable to read. It's a relief to have so much of the tv show caught up with the last book so that I can talk to more people about theories, however there are still a couple of bits and pieces that are possibly being saved for next season or are just not being used at all so those bits are a little tricky.

First of all, thank you so much for getting this out so fast this week as I only just watched the episode last night so it is still fresh in my mind and I enjoyed everything you both said. I agree completely with the idea that while he may be dead, Jon's not gone for good. My boyfriend quoted Monty Python at that point "I'm not dead yet". Since they drew even more attention to Melisandre being there than was done in the book I think that is a given that she will play a role in this. Although another theory we had after reading this in the book was that he would warg into Ghost just at the point of death and that would be how he would continue until he could warg into something else, a dragon maybe. The books seem to talk about warging more than the series does as other characters do it as well, but perhaps that is not as important overall as a plot point as the books make it out to be, since the show only has Bran doing it IIRC. Although it was amusing about the uproar over Kit Harington cutting his hair short earlier this year. Many considered this to be proof positive that his character was gone for good. But we'll see.

The events that took place in Dorne are very interesting to me as I'm wondering what will happen with Prince Trystane who is en route to King's Landing with the father of his now dead fiancee that one of his family members has killed. I don't see them turning back and there is nothing ahead for him except a certain death. My personal theory is that somehow he will end up in the place of one or two other characters who were absent from another storyline. Sorry for being vague but this may or may not be spoilers. When I first saw him that's who I actually thought he would end up being but then the engagement with Myrcella threw me. However now he is freed up to have other adventures if they choose to include that and if that aspect of the other storyline is actually important to the eventual outcome of the story.

I do think that Brienne killed Stannis. After everything he had done and lost he was finished and there's not really anywhere else for this character to go. I have no idea what they will do with Brienne beyond this but I hope it's spectacular. I did not think it was possible to hate anyone more than Joffrey and then along comes Ramsay Bolton. I think that Theon has to atone for his sins against the Starks by helping Sansa and that he will end up dying for her. I had hopes for that bottle opener Sansa swiped that it was destined for Ramsay's neck, but alas she used it on the door only. But I'm sure that Sansa will find herself as a Merry Widow before too long. Now that I'm thinking about it, I suspect that Ramsay will murder his father before his father's new baby is born to protect his position. Once his father is dead Ramsay will get killed (possibly by Theon who will also die in the process) and then Sansa will step out to reclaim her place as the Warden of the North. I won't think about how Littlefinger will insinuate himself into this just yet.

Elizabeth D. said...


Regarding Daenerys, I'm very curious about why she dropped the ring. I honestly don't really recall having noticed it before but if it signifies her position in the Dothraki then this is very significant. The logical theory is that she did not want to be recognized, but that ring is likely the only thing that would provide her any protection from the Dothraki riders she encounters. Without it, to them she is a vulnerable woman alone in the world and the Dothraki are not known for their good manners. When reading the book I remember thinking that they would see how powerful she was with her dragon and they would start to follow her, perhaps that may happen, but the bit with the ring is perplexing. In theory she could ride off with them not knowing her real identity, but then that leaves everyone behind in Mereen and there is no story there without her and we all love Tyrion and want to see him be brilliant so she needs to be there and we need to see her forgive Ser Jorah before he dies of greyscale. But if the Dothraki find out who she is anyway, what's the point of dropping the ring?

I do think Syrio is not dead and that he is one of the faceless men. Arya is proving herself to be quite deadly and my boyfriend has a theory that she will be tasked with killing Sansa at some point without actually knowing it is Sansa, maybe she is referred to as Lady Bolton or something and Arya will have to choose between her new life and her old one as I think she's going to be quite obedient from now on so that would prove quite tricky. I'm actually really looking forward to getting back to Bran's storyline as I think that's where we'll learn more about the backstory. I also want to know where Rickon is and Osha. I named my cat after Osha so I'm hoping we'll see them again at some point.

Joan Crawford said...

Great recap, you guys! I too am unsure if Stannis really died. I don't think he died, actually. I think that the Crows will try to burn Jon's body (thus proving Jon is a Targaryen when it fails to light) and then he'll rise up as a White Walker. I for one think he will be just as cute with blue eyes.

Joan Crawford said...

Also, why is the Lord of Light no longer helping Stannis? I mean, yes, he's an evil shit but the god didn't seem to mind that before... he even gave him a Killer Ghost Baby to help him get closer to the throne. Is this explained in the book at all? Is Melisande just a crappy priestess who doesn't know how to summon his help consistently or is the lord of light actually invested in this?

Page48 said...

Internet outrage over Sansa's rape, internet outrage over Shireen's murder, internet outrage over this and that. Haven't these legions of the outraged noticed over the course of 5 seasons that life on GOT makes living under ISIS look like a Sunday School picnic with free wifi?

I sometimes think that Al Gore invented the internet for the sole purpose of giving people a place to lay down their phony outrage. I'll bet that most of these people don't even know they're outraged until they see that everyone else is outraged. It's outrageous. It's enough to make me Tweet.


Anonymous said...

Shame...shame...shame...shame....too funny. Can't wait to see Cersei get some payback next season. MOUNTAIN SMASH!!!!

I'm just happy all my favorite characters made it (Cersei, Melisandre and even Bronn who I thought wouldn't be leaving Dorne alive.

Everything has been covered so well above that I don't have much to add. It was an incredible season and I look forward to GoT being completely brand new now that we're past the books.

This just better not be the end of Dany & Tyrion together.

Thank you so much for putting these recaps together.

-Tim Alan

Marebabe said...

First things first: “Hi, Joan! I’ve missed you, and I’m so glad to once again be commenting on one of Nikki’s posts WITH YOU!”

@Elizabeth D: I’m intrigued by all the possibilities concerning Daenerys for next season. One thing that’s hugely in her favor is the fact that she’s fluent in Dothraki! Back when she was haggling over the purchase of her Unsullied, it was to her advantage to hide that she could speak and understand High Valyrian. But I can see no reason for her to not immediately hail the Riders in Dothraki. “I’m so glad to see you! My dragon broke down back there. Could I have some water, please?”

The Question Mark said...

@MAREBABE: My first comment vanished as well! Something is afoot in Internet-ville.

I, for one, really hope that Jon Snow actually IS deader than dead. I've got nothing against him; I think Jon is a great character and a nice dude, and Kit Harrington plays him very well. But I'm just not a fan of death getting cancelled/retconned. It sucks me right out of the experience. When a character dies, they should DIE. (And I'm talking to YOU, Shia LaBeouf in "Transformers: Revenge of the Fallen", or Chris Pine in "Star Trek 2: The Cure for Death"). It feels like we're given this big, emotional moment and then the writer just pokes his/her head out and says, "LoLz! J/K!" In the words of Benjamin Linus, "Dead is dead".
We'll miss you, Jon Snow. And now your watch is ended.

For the record, during Cersei's scene, was anybody else hoping that someone in the crowd would chuck something really heavy at that nun? I was waiting for a brick to come flying, and she'd be all like, "Shame! Sha-AHH, JESUS CHRIST!!!" LoL I may be a terrible person.

My favourite death of the episode, though, has to be Ramsay's girlfriend. It was a total "Return of the Jedi" moment, with Reek as Vader stepping up and saving his family member from a psychopath. I punched the air with glee and did the dance of joy.

Nikki Stafford said...

Question Mark: LOL on the nun comment, that would have been AMAZING!!!!

Also, I forgot to mention in our post that my favourite thing about Myranda's death was that "splat" sound it made. ;)

Marebabe said...

@QM: I agree about the “not really dead” trope. Cue the eye roll when it happens. There is a difference, though, when someone is really most sincerely dead and gets RESURRECTED. That is a “bow your heads in awe” kind of thing. I guess we’ll see, won’t we. And I loved your rewritten scene with the nun getting clocked with a heavy doorstop. That would’ve been brilliant!

@Nikki: That was a very satisfying SPLAT noise! They did it right.

Here’s a thought. I suddenly pictured the showrunners trolling the Internet for a couple days here, just to take the pulse of the fans. Of course, they know exactly what’s in store for our characters next season, and possibly the whole rest of the series. They must be laughing their butts off and rubbing their hands together with glee, reading the most popular fan theories and speculation. Somehow I doubt that anyone has it exactly right. I don’t know why, but I have a feeling that the rug is going to be viciously yanked out from under us come next year. Actually, this is the analogy I used when speaking to my husband about Game of Thrones: Have you ever seen what a rat terrier does to a rat? It’s a lot like what Drogon did to a few Sons of the Harpy there in the fighting pit. THAT is sort of what the showrunners do to viewers. Pulling a rug out from under someone is far too mild and gentle for them.

Joan Crawford said...

@ Marebabe - I was waiting for a brick to come flying, and she'd be all like, "Shame! Sha-AHH, JESUS CHRIST!!!" LoL I may be a terrible person.

Ahahahaha! "GODDAMN IT! Who threw that? Never mind: YOU'RE ALL GOING TO HELL!"

Oh man, I could think about this all day :)

Nikki Stafford said...

I want to second Marebabe's comment that we're so happy to have you back, Joanie!!

QuestionMark's brick-in-the-head comment is also one of my favourite things. I think we need to demand a rewrite of that scene just for the sadistic Nik at Niters.

Nikki Stafford said...

Page48: I couldn't agree with you more. I was having a conversation with a FB friend on their wall a couple of weeks ago about how ridiculous it is, that we get SO outraged at completely menial things these days.
OMG the Cadbury eggs have CHANGED THE CHOCOLATE!!!! I am outraged and will boycott them now.
Uh, guys? There's some, um, serious shit happening in the Middle East right now, maybe we should...

Or how about threatening to have Joss Whedon hanged because of some minor scene in the Avengers film and calling him out as an anti-feminist when HE CREATED BUFFY. Argh. I'm just so tired of it. It's why I so rarely post anything on FB that's pissy and complaining. There's just too much of it there already. :/

JS said...

"What is dead may never die" If he is dead, he cannot die again, which would make him unstoppable?!?

"Jon always comes back" Sam Soothsayer predicts it

"and now his watch is ended" which frees him up to pursue other career opportunities...

"Dead is dead" um, that didn't work on LOST either - JL was dead, but his image was used for something else. (I assume it is impossible to spoil anyone here on LOST).

Melisandre has visions and mis-reads them. My feeling is she FINALLY figured out Stannis was not Azor Ahai and remembered her feelings about Jon, and also did not want to stick around for the dying and so went to the closest place. She SHOULD be able to call on the Lord of Light to resurrect Jon or bring out the real Jon/Azor Ahai/etc but remember she was impressed when she saw the priest do it with Beric, she hasn't necessarily done it herself.
Lastly, if they left his body out or stuck him in an ice cell AND he came in contact with a white walker or a wight, he would be a wight. I assume he would have to be alive to become a white walker since we have only seen them do that with live babies. If I remember correctly, when he burned the wight, he got burned himself, so I am not 100% on the Targaryen theory either. Well, at least not pure Targaryen.

With Cersei - as you said Nikki, a significant reason for the power of that scene was that we lived it with her. Assuming it was a mile long, it probably took her 15-20 minutes, but the 3 minutes we got was long enough to empathize with her. Lena Headey did an amazing job conveying the changing feelings during that mile. The schmucks standing there gawking when she crossed the gates - I have a feeling the mountain may be deployed to clean out the small council, if she retains any Queen Mother powers. Or even if she doesn't.

Very excited for what is to come.

Blam said...

A big thanks to Nikki and Christopher for these posts. I’ve not been able to comment much, as I barely get to read ‘em before the next episode airs due to how the week shakes out, but I appreciate ‘em. Would that we could flip the odometer like we did back in the days of Lost.

@Christopher: // I would have preferred Brienne seeing Sansa’s candle just as Podrick brought the news, and having her make a painful choice between oaths //

Me too; Nikki was right on the money about it being cheesy. And Game of Thrones, when it’s working at least, is better than such hackneyed tropes. Except I’m also forgiving of them to an extent because the show has so much apparent Destiny going on.

@Nikki: // the scene kept going, not pausing to cut to Arya sitting up in bed //

Yeah. I was right there suspecting, expecting, hoping even for it to be a dream — not with Meryn Trant, but when a man totally fracked with a girl’s mind and she was pulling face after face off the dead body.

Arya properly ventilating the guy who killed her “dance teacher” — now in the midst of physically and emotionally torturing* underage girls* before raping* them (*** or as GRRM probably calls it, Yahtzee) — I’m down with that. Sure, I wouldn’t like to see Arya growing cold and her soul corrupted by vengeance or indifference to human life. Contextually, though, her distraction from the prescribed Faceless Man curriculum aside, Arya was/is entitled to her moment.

@Christopher: // Drogon will be conveniently absent, and they will find Drogo’s ring //

Until now, I somehow had not made the connection between Drogo and Drogon’s names at all. Weird.

@Christopher: // Her long, humiliating walk from Baelor’s Sept to the Red Keep is depicted almost precisely as it is described in the novel. //

If Jonathan Pryce’s role as the High Sparrow did veer significantly from the books, would that make him a deviated septon?

Please tip your waiters, folks.

Blam said...

Intermission: Want to see Bronn sing and dance his way through an endearingly tacky sort-of Mersey Beat doo-wop hybrid cover of a Drifters classic looking like a square-jawed Anthony Michael Hall? You're in luck. Me, I can't get enough of it.

Blam said...

@Nikki: // 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. //

I agree with Nikki how hard it is to watch, how totally exposed she is. What’s remarkable about this is how situationally sympathetic we can be towards these characters. Of course we feel for both Cersei, in-story, and the real women who made that march on a human level, but it’s not like we haven’t delighted in Headey’s portrayal of Cersei before both for the brilliance of her sheer amorality and her palpable maternal pain in certain moments, even as so much of what she’s wrought disgusts us.

Few to none of the people we follow across this world are innocents by now. Myrcella is one, from what little we’ve seen, yet so was Bran when Jamie kicked him out of Incest Point. And whether it’s because Jamie has grown enlightened or we’ve just grown to love the actor’s performance — surely a bit of each — we feel grief over Myrcella’s apparent death as much for his sake as her own, if not more.

@Christopher: // I think it’s pretty obvious that Jon Snow is dead; the question, rather, is whether he’ll stay dead. //

I’m of the opinion that if somehow he really does stay entirely dead, if this is some grand misdirect of the expected plot turn on the part of the storytellers, Weiss and Benioff and/or Martin, it will actually be bad writing. We’ve invested so much in him, and so much of his role in the story that must come into play as things climax isn’t easily transferred to other characters, that he has to survive or, more likely, transmute. I of course have no idea whether his body fails to burn in the Watch’s traditional funeral pyre like Dany’s with her dragon eggs, assuming he gets such an honor, or his rebirth comes in some other fashion, like his spirit using Ghost as a Warg waystation similar to Spock’s katra or the Lord of Light granting Melisandre the ability to bring him back. I have to assume that everything Harrington and the showrunners are saying right now is carefully (?) parsed spin, though.

Blam said...

@Marebabe: // it was like a nod to The Empire Strikes Back //

Yes! So totally.

@ Marebabe: // Leaving Grey Worm, Missandei, and Tyrion to govern Meereen reminded me of The Wizard of Oz. Each has skills and qualities that will help the people of Meereen accept their leadership. //

Another great association.

@Marebabe: // everyone immediately thought of Julius Caesar with the stabby murder scene //

Huh. Sorry. You lost me there. 8^)

@Elizabeth: // Arya is proving herself to be quite deadly and my boyfriend has a theory that she will be tasked with killing Sansa at some point without actually knowing it is Sansa //

… Whoa.

@QuestionMark: // I'm just not a fan of death getting cancelled/retconned. //

I hear you on Chris Pine’s Kirk, and I can appreciate the sentiment in general. The ability to resurrect someone via the Lord of Light has been established, however, and this situation perhaps telegraphed in retrospect, far more satisfyingly than Into Darkness’ equivalent setup. We knew Kirk wasn’t gonna bite it permanent-like, the misguided echo of Wrath of Khan and unearned appropriation of affection for these characters’ previous incarnations entirely aside, whereas if/when Jon Snow is resurrected — as this Azor Ahai or some altered version of himself or whatever — it will feel, presumably, done well, like an evolution, his death (or “death”) having been an essential part of the character’s journey in one long, sprawling but discrete story.

I’m still curious about Melisandre’s usage of “You know nothing, Jon Snow,” and how or whether it indicates any kind of association with his Wildling love. The way she turned around at the door to say it made it rather a non sequitur, but it remains to be seen whether she has a connection to Ygritte specifically or could feel her spirit through a mystic/telepathic moment she, Melisandre, was having with Jon Snow, or even if there’s a latent Ginger Hive-Mind accessible to all the men and women who’ve been tooched bah faaah.

@JS: // since we have only seen them do that with live babies //

The fact that this is an entirely valid sentence in the context of our discussion is almost as creepy as Joan.

Nikki Stafford said...

Blam: Awesome comments, as always. Awesome to see you!

Until now, I somehow had not made the connection between Drogo and Drogon’s names at all. Weird.

I believe that's part of the reason why Drogon is Dany's favourite — she named him after Khal Drogo. The other two dragons — Viserion and Rhaegal — are named after her two brothers.

Nikki Stafford said...

Marebabe: it was like a nod to The Empire Strikes Back
I actually had a section in there originally where I wrote about how I kept feeling Star Wars references throughout this episode, but then the paragraph didn't quite fit the discussion so I deleted it. But when Arya was whipping the faces off only to find her own, my husband said, "Well THAT was very Star Wars." And later, when Jaime was doing his speech with Myrcella, I said to my husband, "*I* am your fah-thah." But then he never got to say the line. ;)