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scifi_rewatchI remember the first time I watched this episode feeling disjointed by it. In Meereen and with the aftermath of the Purple Wedding, we were still rather focused on familiar political and social situations. The Night’s Watch is a little trickier, particularly with the way it subverted some canon in surprising ways that strain credulity for some fans, myself included. But the plot beyond the Wall moved, most likely, into horror-style spoiler territory from book six. :O It’s the first time that I reacted with the open-mouthed “a-whaa?” since Arya and Melissandre met (and promised a future meeting) in season three. Maybe the showrunners are easing us in slowly, because as the published book material runs out, there’s going to be more of this. Some of it, undoubtedly, will just be an invention of the show, but other parts might mirror spoilers to which Martin made Benoiff and Weiss aware. There obviously has to be some kind of common end game here, and unfortunately (not casting blame, just stating a likelihood!), the show seems primed to outpace the books at this point.
And again, I have to bring up issues concerning the show and rape. An intentional depiction this time, but I have to wonder at the broader implications. We don’t know the women in question as people—they have no names, no individual backstories, no lines except in unison and in service to the plot. The audience can’t identify with them, and ergo grapple with the rape culture around them, the way we grappled with the machinations of war and nihilism last episode, because we got to see the peasants Arya, the Hound and Ygritte interacted with as people. I think it’s worth noting that Martin doesn’t so often depict rapes directly, but instead shows their after-effects. It’s also worth noting that the said rape depictions on the show, obviously, had to stop once a child actor entered the scene. This, to me, further proves that they were unnecessary. as We still understood, in those later scenes that violence against women ran rampant, and in general the order in that storyline was breaking down. I’ll divulge the specifics under the cut.
For now, suffice to say that I love where Sansa’s arc went this episode. Even the showrunners noted her behavior in the behind the scenes segment, meaning that her character growth is on the rise. :D Also, this is the ep where we officially solve the “who dunnnit” aspect of Joffrey’s murder, not that it will stop the dominoes already in motion. Finally, SER POUNCE SIGHTING! :D *awkward cough* Um, carry on. :P
Summary
Meereen
Missandei teaches Grey Worm to speak the common tongue, leading to some backstory talk. Missandei has some memories of her childhood home being burned as she was led to slavery, but Grey Worm remembers nothing before becoming Unsullied. He doesn’t want to know; what he wants is to “kill the masters,” (a propaganda phrase later spray painted on a wall in Meereeen,) to avenge his past. Daenerys comes to fetch him, and he infiltrates slave quarters with weapons. The slaves are arguing the validity of joining up with Daenerys—the older ones remember slave revolts where no power changed hands. But with Grey Worm’s urging, they take up arms. In a narrow passageway of the cities, a master looks up to the idol of the harpy adorning the great pyramid; it’s now covered by a Targaryen flag. Then he’s stabbed to death by a coming mob.
Ultimately the slaves and Dany’s forces win this battle. Slave collars come off and our Breaker of Chains/Mother of Dragons is again greeted as “mhysa.” She then orders for 163 masters to be crucified, the number of slave children whose corpses dotted the road to the city. Barristan counsels mercy but Dany is steadfast; “I will answer injustice with justice.” So the men are nailed up, screaming and bleeding, as Daenerys surveys the scene from atop the pyramid.
En route to the Vale
Littlefinger comes below deck to where Sansa has taken down her hair and is pacing. He tells her that he’s taking her to her aunt, Lysa, (also his intended,) for her safety. Sansa then asks him if he killed Joffrey, and he engages her in a bit of cat and mouse as she ferries out the clues. Littlefinger claims that he likes to make surprising moves so his enemies won’t know what to expect from him, but Sansa doesn’t believe him—risking everything just to confuse them? Littlefinger then claims that his wants are bigger than that—he wants everything.
He also lets loose that he was involved in the machinations—and Sansa was involved in the execution, through poison on Dontos’s necklace. (Tyrion, both agree, was innocent.) Joffrey, meanwhile, was an unpredictable, vicious and untrustworthy ally (kind of like him, Sansa points out.) He counters that his new friends, who wanted Joffrey’s death, are predictable and reasonable, and there’s “nothing like a thoughtful gift to make a new friendship grow strong.”
King’s Landing
Jaime and Bronn spar, and in his usual “give no quarry” fashion, Bronn ultimately beats Jaime with his own hand. Conversation then turns to Tyrion, whom Jaime, guiltily, hasn’t visited yet. Bronn points out that they first time he met Tyrion, at the Eyrie, the younger Lannister wanted Jaime to fight for him at his trial by combat, because he knew his brother would always be there for him. Hint hint.
So Jaime finally goes and they kind of clear the air between them…Jaime doesn’t believe that Tyrion killed his son, and Tyrion doesn’t believe that Jaime would kill his brother (on Cersei’s orders.) They also clear Sansa of wrongdoing; Tyrion asserts that his wife is no killer, “not yet anyway.” But in the interim, he’s in more danger from his sister, who would not allow a fair trial to go forth. Jaime is obviously more conflicted, and trapped between his two siblings. He won’t set Tyrion free, but he also tries to convince Cersei of his innocence. Cersei, however, bitter and cold with her twin brother, accuses him of being duped by Tyrion and orders him to bring her Sansa’s head instead.
Margaery and Olenna tour the royal gardens one final time; the Queen of Thorns is going home. She recounts her own past, where she used her sexual wiles to snare her husband from her sister, and suggested that Marg get manipulative with Tommen before Cersei turns the boy against her. It seems inevitable that Marg will marry her dead husband’s brother for the Lannister/Tyrell alliance to continue forward. Speaking of Joff’s murder, Olenna cops to the crime. “You don’t think I’d allow you to marry that beast, would you?” she asks, fingering Marg’s necklace.
Later, Margaery does visit Tommen in his new bedroom, after hours. She asserts that since they’re about to get married they should get to know each other, aka “share secrets.” She meets Ser Pounce, his cat, and learns that Joffrey used to torment his brother with the promise of skinning him and mixing his innards in his food. Marg notes that Tommen doesn’t seem cruel, like his brother, and Tommen asserts this. She then leans in slowly for a chaste kiss on his forehead, and promises to visit again sometime.
Next morning, it seems, Brienne reads from the Kingsguard book of Jaime’s paltry and controversial accomplishments. Jaime asserts that he can still accomplish honorable deeds, to which he gives Brienne his new sword! He wants her to use it to find Sansa and keep her safe, a la the oath they made to Catelyn at the end of season two. Brienne accepts, and names the sword “Oathkeeper.” Jaime also gifts her with new armor, and with Pod. She’s less thrilled with the latter, but Pod tries his best to look serviceable and Jaime brings up the debt that Tyrion owes him for the Blackwater battle (Bronn, also in attendance, gives Pod Tyrion’s old axe). Not safe here, he’ll go on the road with Brienne. Jaime and Brienne share an awkward, nostalgic goodbye.
Night’s Watch
Jon helps Grenn train new recruits—the peasant boy, Olly, is among them, as is Locke! During his training session, Locke beats his opponent to the ground, claiming that’s how he’ll learn to fight. Thorne interrupts to remind Jon of his place as a steward—“go find a piss pot to clean.” Jon, angry, gets into his face for moment before skulking off. Slynt is next to Thorne with some advice—after the Mance thing is over, Aemon will insist on a “choosing” for Mormont’s replacement. Jon is better liked. Maybe Thorne should allow Jon to deal with the mutineers, as he wants to, and hopefully one of them will finish him off.
Locke sidles up to Jon with a fake backstory—he’s here because he was caught feeding a nobleman’s game to his starving kids. He thought at the Wall he wouldn’t have to “suck up to highborn cunts”—obviously not the case. The twosome chuckle as they witness Thorne yelling at someone else. Later, Sam grouses over leaving Gilly at Moles Town where the wildlings might attack, but the brothers can’t leave the Wall now. Jon feels a similar sort of pull—Sam’s told him that Bran crossed beyond the Wall! Jon didn’t go after him because he was wounded and his duty, blah blah…now he and Sam analyze the situation. How fast could they travel? Might they stop at Craster’s? Locke interrupts to say that Thorne wants to speak to Jon.
Thorne oks Jon’s mutineers mission, but with volunteers only. Jon gives an inspired speech, first about the rationality of killing the mutineers before Mance gets to them, and then about the justice of avenging Mormont, their “father.” A few men, including Green and Edd, begin to stand. Then Locke stands, surprise surprise. He says he’ll take his vows now because Jon needs people who can fight. Thorne sanctions this with a nod. The music is ominous because we as the audience know Locke’s true purpose.
Beyond the Wall
Karl drinks from Mormont’s skull as his companions rape Craster’s daughter wives in the background. He has an apocalyptic plan for the future--to eat, drink and fuck until they’re dead. He then bullies Rast, who quickly cowtails to Karl’s authority. He’s about to go outside to feed “the beast” when one of Craster’s wives comes out with his last born child—a boy. She tells Karl that Craster would leave his boys as “a gift for the gods,” which the other women spookily repeat. Karl tells them to shut up but seems content enough to appease the White Walkers and not have another mouth to feed. So Rast leaves the baby in the woods, and goes to torment “the beast,” aka a caged Ghost, by spilling his water. Ghost growls and leaps, startling Rast, but not so much as the sudden onslaught of crows. He runs back to the keep.
Elsewhere, Bran and co hear the baby’s cries. Bran wargs into Summer, despite Meera’s protests, but is yanked back into his own skin when Summer is caught in a trap. He gets a glimpse of Ghost, however, and the humans creep towards the Keep. Bran is at first hopeful that this could be a good situation—the man are wearing the black of the Night’s Watch—but Meera has her doubts, especially when she sees the women being pushed around. She attempts to find Summer but is immediately knocked out as the men find the group. They chain up Hodor and abuse him, and then set to interrogating Bran and the Reeds, who are obviously, by their leather clothes, high born. Bran ultimately gives up his identity when Jojen, who’s been sweaty and ill, goes into one of his seizures. Being Jon’s brother, he’s suddenly a very valuable hostage.
The baby is picked up by a White Walker on a dead horse. They wander deep into the north, to a blueish, supernatural clearing, where the baby is laid out on an ice table, surrounded by blurry figures. A more humanoid looking Walker picks up the baby and touches his cheek. The baby starts crying, and his eyes turn icy blue.
Thoughts
Sometimes I feel like a bad scifi/fantasy fan. The stuff that interests me most, character development and brushing up against human themes like the machinations of war, power, slavery, patriarchy, what have you, could exist easily enough in realist fiction (though scifi/fantasy allows us the opportunity to play with them in different ways.) As window dressing, however, scifi/fantasy is far more intriguing than, say, a Midwestern town. :P And this White Walker clearing evoked all sorts of feelings in me. Some of them were definitely tinged by personal bias—at first watching, my niece was at an age with this baby, and I desperately wanted to save him. It’s also beautiful, mysterious and otherworldy—a reminder that we can’t know, or explain, everything. Fantasy and magic in particular demand a degree of mystery. Add onto this that this scene exists nowhere in the published canon, but it affirms a popular theory that Craster’s sons are turned into Others. This was a freaky ending to an otherwise largely pedestrian episode. It’s worth noting that throughout the rest of it, we were aware of everything (Joffrey’s killers, Locke’s true identity, the exact whereabouts of the three eldest surviving Starks), even if the characters weren’t.
Anywho, the rape scene I was talking about above the cut obviously refers to the mutineers with Craster’s daughter wives. Not much more to say on that count, except to make it explicit, with Isaac Hampstead-Wright, 14 at the time of shooting, being the minor in question. I didn’t see anything in the Bran in Craster’s scenes that didn’t signify danger for everyone. The Hodor scene was also heart-breaking for people, including me, not just because of the silly “Hodoring” associated with him, but because we understand that this is a situation of a defenseless person being abused by the powerful. “Game of Thrones” is consistent with themes.
None of the stuff at Craster’s or at the Wall happened in canon, and it’s largely here now to give these characters a story arc. My biggest quibble is with Jon knowing Bran’s whereabouts. I knew something was fishy when, last season, Bran didn’t make Sam swear to keep his mouth shut. But I’m conflicted on Jon not going immediately after Bran (to be fair, he was wounded and he believes in his vows. It’s certainly something of character development that he referred to Castle Black as “home.” Mostly, I’m not sure I buy that he would have forgiven Sam for letting him go.)
Jon's logic is faulty, too; why would Bran and co choose sheltering with dangerous wildlings over sheltering in abandoned villages with possible supplies? Overall, there’s a bit of convenience to all of these storylines—Jon assuming that Bran might take shelter at Craster’s, Bran being forced to take “shelter” at Craster’s, the Night’s Watch (and ergo Locke) needing to go to Craster’s to quell the mutineers. (I do like Slynt advising Thorne on the Jon/Lord Commander choosing situation—not true to the canon politics of the Night’s Watch, but an understandable progression considering Thorne’s own beliefs and ambitions.) It’s not my favorite because it’s much more about plot than character development, though we will ultimately get a little bit of the latter. And I do love spending extra time with Bran, I’ll admit. :P Standing up, figuratively, for Meera and everything. I like Meera taking charge (albeit still deferring to the bro sometimes,) and Jojen is looking a bit more out of sorts, isn’t he? Progression, progression.
Some elements are significantly different in Meereen—this is where, in the books, Dany finds out Barristan’s real identity (he’d been traveling with her under a false name.) She also finds out about Jorah’s betrayals from season one. She sends both men on a dangerous mission to infiltrate the city so they can open the gates, free the slaves to join the fight, etc. On the show this is given to Grey Worm. I like the choice, because it adds depth to his character; he wants revenge for his own past. We also learn more about Missandei and see some sparks between them; together these former slaves forge a real relationship. (The only reason I’m glad it didn’t happen in the books is because Missandei is 9. :P) The writing was so casual and believable, and I loved the acting and the lighting, too. And in general the set design and pacing during the “siege” is great.
Everything about Dany’s “justice” with the master’s is right on target. This is my turning point in the Daenerys story—she’s more than just a conqueror; now she has to make real decisions. I like how complex this one is, because the best form of “justice” that we understand is an eye for an eye, right? Bu what does that really accomplish in the end, except more pain and strife? These are questions that Daenerys will now have to deal with; perhaps her “take no prisoners” Targaryen nature will be tested. Right now, we have her steely gaze under her familial flag as her justice is dispensed.
Makes the political machinations at King’s Landing seem relatively tame. :P Olenna outs herself as one of Joffrey’s murder conspirators (I can now point out the clues from the second episode of the season; when the septon intones “curse any man who would tear these two asunder,” the camera is on her face; also she removes the stone from Sansa’s necklace when coming over, ironically to pay condolences. “Killing a man at a wedding…horrible,” she sympathizes. This woman is positively macabre. :P)
We don’t get to see this interaction in canon, and although there’s backstory about the Queen of Thornes backpedaling out of an arranged marriage with a Targaryen, there’s no indication that she used sexual wiles to accomplish it. Works well for the show, though, and building up Margaery’s manipulations. (Sidenote—I’m glad that they didn’t have Marg involved in the murder scheme. Being politically savvy doesn’t have to mean you’re prime material for plotting a murder.) I’m told that her late night scene with Tommen is akin to a young man’s wet dream. :P The character is much younger on the show, so this wouldn’t be appropriate, but Margaery does try to forge a connection with him, despite Cersei’s misgivings. I’ll give a shoutout to Dean-Charles Chapman, who played an entirely different character last season, but I never would have recognized him. He brings out Tommen’s kindness, naiveté, and feline appreciation, yay. :P He’s older on the show but somehow he makes this work, perhaps because he’s also been victimized by Joffrey.
The Lannister siblings are all a little too preoccupied to notice most of this, with Jaime uncomfortably in the middle. I thought Nickolaj played that off well, being sympathetic to Cersei with Tyrion and Tyrion with Cersei. That being said, in the novels he doesn’t speak to Tyrion until a later point (and doesn’t speak with Bronn at all, as previously noted.) It makes more sense, in the show, for these brothers to be open about their concerns and grievances; adds to the drama.
Cersei’s coldness with Jaime mirrors how she’s growing more paranoid and isolated after Joffrey’s death, and she’s rarely without a wine glass now. :P Lena does such a great job of playing a woman who has absolutely convinced herself that her little brother is her enemy—her mind brooks no argument. She’s also, canonically, after Sansa’s head, which might lead him to the next scene.
The specifics are different, because in canon once Brienne arrives from the road Loras has her imprisoned for Renly’s murder; on the show Loras always blamed Stannis. So Jaime has to meet her in her cell, and also give her money and a note saying she’s on “king’s business,” and he names the sword. (Of course, I’m in love with the romanticism of Brienne protecting Sansa with the sword forged from her father’s steel, Stark swoon!) I definitely prefer Brienne naming it, because she’s the one on the quest for Sansa. Also, not that I’m surprised, but they excised my favorite line in the entire series: Jaime saying “Sansa Stark is my last chance for honor.”
Instead, on the show, they focus on his mockery-worthy kingsguard backstory, which in part propels Jaime to help Brienne keep their oath to Catelyn. Overall I loved this, and the goodbye scene; the actors have great chemistry and the relationship between characters is so organic and interesting. I can see why people like it; Jaime and Brienne bring out the best in each other.
Podric and Brienne do travel out together on this quest, but the circumstances are different and spoilery. I like it for the show because it encourages new characters to interact, and it ties in with what they set up in the episode previous. Not to mention that even in canon Tyrion owes Pod a life debt. And we get to hear Pod stumble over the “ser, my lady” lines, teehee. In the books, it gets a bit tedious after awhile. But speaking of actor chemistry, I’m definitely happy with what I see here, and I know I’m not the only one. Nothing like a stoic knight and a bumbling but well-meaning squire…and the fact that she’s a woman makes it different and intriguing.
Finally, to end with Sansa. Perhaps for the first time, the show gives her more agency than the books, where Littlefinger tells her straight out about his and Olenna’s involvement in Joffrey’s death, rather than having her tease out the clues about his methods and motivations. You know how I love my character building journeys!
There was also a very clever moment at the end of Littlefinger’s dialogue, where he referenced his co-conspirators with the phrase “growing strong,” (the Tyrell motto, and also bleeding into the scene with Margaery and Olenna. :P) Littlefinger can still be more mustache-twirly on the show than he is in the books, but it’s an effect I’ve come to expect by this point. Aiden Gillen isn’t even using the “Darth Froggie” voice in this scene, though it is coming. :P Of course I also expect all of the ways he finds to touch Sansa, and it still skeeves me out. But I can’t deny that I love this relationship, because of what it means for Sansa’s character.
In King’s Landing, as Tyrion’s wife, as Joffrey and Cersei’s plaything, her life was pretty stagnant. There’s not much she could do, as a caged bird, to grow as a person. But now, in a new location for the first time in years, and without the overbearing presence of the Lannisters, by default she has to grow and change, and use the survival skills she learned in captivity in different ways. Have I mentioned enough times in this review that I love character development? Because I do, I really do. :P
___
And again, I have to bring up issues concerning the show and rape. An intentional depiction this time, but I have to wonder at the broader implications. We don’t know the women in question as people—they have no names, no individual backstories, no lines except in unison and in service to the plot. The audience can’t identify with them, and ergo grapple with the rape culture around them, the way we grappled with the machinations of war and nihilism last episode, because we got to see the peasants Arya, the Hound and Ygritte interacted with as people. I think it’s worth noting that Martin doesn’t so often depict rapes directly, but instead shows their after-effects. It’s also worth noting that the said rape depictions on the show, obviously, had to stop once a child actor entered the scene. This, to me, further proves that they were unnecessary. as We still understood, in those later scenes that violence against women ran rampant, and in general the order in that storyline was breaking down. I’ll divulge the specifics under the cut.
For now, suffice to say that I love where Sansa’s arc went this episode. Even the showrunners noted her behavior in the behind the scenes segment, meaning that her character growth is on the rise. :D Also, this is the ep where we officially solve the “who dunnnit” aspect of Joffrey’s murder, not that it will stop the dominoes already in motion. Finally, SER POUNCE SIGHTING! :D *awkward cough* Um, carry on. :P
Summary
Meereen
Missandei teaches Grey Worm to speak the common tongue, leading to some backstory talk. Missandei has some memories of her childhood home being burned as she was led to slavery, but Grey Worm remembers nothing before becoming Unsullied. He doesn’t want to know; what he wants is to “kill the masters,” (a propaganda phrase later spray painted on a wall in Meereeen,) to avenge his past. Daenerys comes to fetch him, and he infiltrates slave quarters with weapons. The slaves are arguing the validity of joining up with Daenerys—the older ones remember slave revolts where no power changed hands. But with Grey Worm’s urging, they take up arms. In a narrow passageway of the cities, a master looks up to the idol of the harpy adorning the great pyramid; it’s now covered by a Targaryen flag. Then he’s stabbed to death by a coming mob.
Ultimately the slaves and Dany’s forces win this battle. Slave collars come off and our Breaker of Chains/Mother of Dragons is again greeted as “mhysa.” She then orders for 163 masters to be crucified, the number of slave children whose corpses dotted the road to the city. Barristan counsels mercy but Dany is steadfast; “I will answer injustice with justice.” So the men are nailed up, screaming and bleeding, as Daenerys surveys the scene from atop the pyramid.
En route to the Vale
Littlefinger comes below deck to where Sansa has taken down her hair and is pacing. He tells her that he’s taking her to her aunt, Lysa, (also his intended,) for her safety. Sansa then asks him if he killed Joffrey, and he engages her in a bit of cat and mouse as she ferries out the clues. Littlefinger claims that he likes to make surprising moves so his enemies won’t know what to expect from him, but Sansa doesn’t believe him—risking everything just to confuse them? Littlefinger then claims that his wants are bigger than that—he wants everything.
He also lets loose that he was involved in the machinations—and Sansa was involved in the execution, through poison on Dontos’s necklace. (Tyrion, both agree, was innocent.) Joffrey, meanwhile, was an unpredictable, vicious and untrustworthy ally (kind of like him, Sansa points out.) He counters that his new friends, who wanted Joffrey’s death, are predictable and reasonable, and there’s “nothing like a thoughtful gift to make a new friendship grow strong.”
King’s Landing
Jaime and Bronn spar, and in his usual “give no quarry” fashion, Bronn ultimately beats Jaime with his own hand. Conversation then turns to Tyrion, whom Jaime, guiltily, hasn’t visited yet. Bronn points out that they first time he met Tyrion, at the Eyrie, the younger Lannister wanted Jaime to fight for him at his trial by combat, because he knew his brother would always be there for him. Hint hint.
So Jaime finally goes and they kind of clear the air between them…Jaime doesn’t believe that Tyrion killed his son, and Tyrion doesn’t believe that Jaime would kill his brother (on Cersei’s orders.) They also clear Sansa of wrongdoing; Tyrion asserts that his wife is no killer, “not yet anyway.” But in the interim, he’s in more danger from his sister, who would not allow a fair trial to go forth. Jaime is obviously more conflicted, and trapped between his two siblings. He won’t set Tyrion free, but he also tries to convince Cersei of his innocence. Cersei, however, bitter and cold with her twin brother, accuses him of being duped by Tyrion and orders him to bring her Sansa’s head instead.
Margaery and Olenna tour the royal gardens one final time; the Queen of Thorns is going home. She recounts her own past, where she used her sexual wiles to snare her husband from her sister, and suggested that Marg get manipulative with Tommen before Cersei turns the boy against her. It seems inevitable that Marg will marry her dead husband’s brother for the Lannister/Tyrell alliance to continue forward. Speaking of Joff’s murder, Olenna cops to the crime. “You don’t think I’d allow you to marry that beast, would you?” she asks, fingering Marg’s necklace.
Later, Margaery does visit Tommen in his new bedroom, after hours. She asserts that since they’re about to get married they should get to know each other, aka “share secrets.” She meets Ser Pounce, his cat, and learns that Joffrey used to torment his brother with the promise of skinning him and mixing his innards in his food. Marg notes that Tommen doesn’t seem cruel, like his brother, and Tommen asserts this. She then leans in slowly for a chaste kiss on his forehead, and promises to visit again sometime.
Next morning, it seems, Brienne reads from the Kingsguard book of Jaime’s paltry and controversial accomplishments. Jaime asserts that he can still accomplish honorable deeds, to which he gives Brienne his new sword! He wants her to use it to find Sansa and keep her safe, a la the oath they made to Catelyn at the end of season two. Brienne accepts, and names the sword “Oathkeeper.” Jaime also gifts her with new armor, and with Pod. She’s less thrilled with the latter, but Pod tries his best to look serviceable and Jaime brings up the debt that Tyrion owes him for the Blackwater battle (Bronn, also in attendance, gives Pod Tyrion’s old axe). Not safe here, he’ll go on the road with Brienne. Jaime and Brienne share an awkward, nostalgic goodbye.
Night’s Watch
Jon helps Grenn train new recruits—the peasant boy, Olly, is among them, as is Locke! During his training session, Locke beats his opponent to the ground, claiming that’s how he’ll learn to fight. Thorne interrupts to remind Jon of his place as a steward—“go find a piss pot to clean.” Jon, angry, gets into his face for moment before skulking off. Slynt is next to Thorne with some advice—after the Mance thing is over, Aemon will insist on a “choosing” for Mormont’s replacement. Jon is better liked. Maybe Thorne should allow Jon to deal with the mutineers, as he wants to, and hopefully one of them will finish him off.
Locke sidles up to Jon with a fake backstory—he’s here because he was caught feeding a nobleman’s game to his starving kids. He thought at the Wall he wouldn’t have to “suck up to highborn cunts”—obviously not the case. The twosome chuckle as they witness Thorne yelling at someone else. Later, Sam grouses over leaving Gilly at Moles Town where the wildlings might attack, but the brothers can’t leave the Wall now. Jon feels a similar sort of pull—Sam’s told him that Bran crossed beyond the Wall! Jon didn’t go after him because he was wounded and his duty, blah blah…now he and Sam analyze the situation. How fast could they travel? Might they stop at Craster’s? Locke interrupts to say that Thorne wants to speak to Jon.
Thorne oks Jon’s mutineers mission, but with volunteers only. Jon gives an inspired speech, first about the rationality of killing the mutineers before Mance gets to them, and then about the justice of avenging Mormont, their “father.” A few men, including Green and Edd, begin to stand. Then Locke stands, surprise surprise. He says he’ll take his vows now because Jon needs people who can fight. Thorne sanctions this with a nod. The music is ominous because we as the audience know Locke’s true purpose.
Beyond the Wall
Karl drinks from Mormont’s skull as his companions rape Craster’s daughter wives in the background. He has an apocalyptic plan for the future--to eat, drink and fuck until they’re dead. He then bullies Rast, who quickly cowtails to Karl’s authority. He’s about to go outside to feed “the beast” when one of Craster’s wives comes out with his last born child—a boy. She tells Karl that Craster would leave his boys as “a gift for the gods,” which the other women spookily repeat. Karl tells them to shut up but seems content enough to appease the White Walkers and not have another mouth to feed. So Rast leaves the baby in the woods, and goes to torment “the beast,” aka a caged Ghost, by spilling his water. Ghost growls and leaps, startling Rast, but not so much as the sudden onslaught of crows. He runs back to the keep.
Elsewhere, Bran and co hear the baby’s cries. Bran wargs into Summer, despite Meera’s protests, but is yanked back into his own skin when Summer is caught in a trap. He gets a glimpse of Ghost, however, and the humans creep towards the Keep. Bran is at first hopeful that this could be a good situation—the man are wearing the black of the Night’s Watch—but Meera has her doubts, especially when she sees the women being pushed around. She attempts to find Summer but is immediately knocked out as the men find the group. They chain up Hodor and abuse him, and then set to interrogating Bran and the Reeds, who are obviously, by their leather clothes, high born. Bran ultimately gives up his identity when Jojen, who’s been sweaty and ill, goes into one of his seizures. Being Jon’s brother, he’s suddenly a very valuable hostage.
The baby is picked up by a White Walker on a dead horse. They wander deep into the north, to a blueish, supernatural clearing, where the baby is laid out on an ice table, surrounded by blurry figures. A more humanoid looking Walker picks up the baby and touches his cheek. The baby starts crying, and his eyes turn icy blue.
Thoughts
Sometimes I feel like a bad scifi/fantasy fan. The stuff that interests me most, character development and brushing up against human themes like the machinations of war, power, slavery, patriarchy, what have you, could exist easily enough in realist fiction (though scifi/fantasy allows us the opportunity to play with them in different ways.) As window dressing, however, scifi/fantasy is far more intriguing than, say, a Midwestern town. :P And this White Walker clearing evoked all sorts of feelings in me. Some of them were definitely tinged by personal bias—at first watching, my niece was at an age with this baby, and I desperately wanted to save him. It’s also beautiful, mysterious and otherworldy—a reminder that we can’t know, or explain, everything. Fantasy and magic in particular demand a degree of mystery. Add onto this that this scene exists nowhere in the published canon, but it affirms a popular theory that Craster’s sons are turned into Others. This was a freaky ending to an otherwise largely pedestrian episode. It’s worth noting that throughout the rest of it, we were aware of everything (Joffrey’s killers, Locke’s true identity, the exact whereabouts of the three eldest surviving Starks), even if the characters weren’t.
Anywho, the rape scene I was talking about above the cut obviously refers to the mutineers with Craster’s daughter wives. Not much more to say on that count, except to make it explicit, with Isaac Hampstead-Wright, 14 at the time of shooting, being the minor in question. I didn’t see anything in the Bran in Craster’s scenes that didn’t signify danger for everyone. The Hodor scene was also heart-breaking for people, including me, not just because of the silly “Hodoring” associated with him, but because we understand that this is a situation of a defenseless person being abused by the powerful. “Game of Thrones” is consistent with themes.
None of the stuff at Craster’s or at the Wall happened in canon, and it’s largely here now to give these characters a story arc. My biggest quibble is with Jon knowing Bran’s whereabouts. I knew something was fishy when, last season, Bran didn’t make Sam swear to keep his mouth shut. But I’m conflicted on Jon not going immediately after Bran (to be fair, he was wounded and he believes in his vows. It’s certainly something of character development that he referred to Castle Black as “home.” Mostly, I’m not sure I buy that he would have forgiven Sam for letting him go.)
Jon's logic is faulty, too; why would Bran and co choose sheltering with dangerous wildlings over sheltering in abandoned villages with possible supplies? Overall, there’s a bit of convenience to all of these storylines—Jon assuming that Bran might take shelter at Craster’s, Bran being forced to take “shelter” at Craster’s, the Night’s Watch (and ergo Locke) needing to go to Craster’s to quell the mutineers. (I do like Slynt advising Thorne on the Jon/Lord Commander choosing situation—not true to the canon politics of the Night’s Watch, but an understandable progression considering Thorne’s own beliefs and ambitions.) It’s not my favorite because it’s much more about plot than character development, though we will ultimately get a little bit of the latter. And I do love spending extra time with Bran, I’ll admit. :P Standing up, figuratively, for Meera and everything. I like Meera taking charge (albeit still deferring to the bro sometimes,) and Jojen is looking a bit more out of sorts, isn’t he? Progression, progression.
Some elements are significantly different in Meereen—this is where, in the books, Dany finds out Barristan’s real identity (he’d been traveling with her under a false name.) She also finds out about Jorah’s betrayals from season one. She sends both men on a dangerous mission to infiltrate the city so they can open the gates, free the slaves to join the fight, etc. On the show this is given to Grey Worm. I like the choice, because it adds depth to his character; he wants revenge for his own past. We also learn more about Missandei and see some sparks between them; together these former slaves forge a real relationship. (The only reason I’m glad it didn’t happen in the books is because Missandei is 9. :P) The writing was so casual and believable, and I loved the acting and the lighting, too. And in general the set design and pacing during the “siege” is great.
Everything about Dany’s “justice” with the master’s is right on target. This is my turning point in the Daenerys story—she’s more than just a conqueror; now she has to make real decisions. I like how complex this one is, because the best form of “justice” that we understand is an eye for an eye, right? Bu what does that really accomplish in the end, except more pain and strife? These are questions that Daenerys will now have to deal with; perhaps her “take no prisoners” Targaryen nature will be tested. Right now, we have her steely gaze under her familial flag as her justice is dispensed.
Makes the political machinations at King’s Landing seem relatively tame. :P Olenna outs herself as one of Joffrey’s murder conspirators (I can now point out the clues from the second episode of the season; when the septon intones “curse any man who would tear these two asunder,” the camera is on her face; also she removes the stone from Sansa’s necklace when coming over, ironically to pay condolences. “Killing a man at a wedding…horrible,” she sympathizes. This woman is positively macabre. :P)
We don’t get to see this interaction in canon, and although there’s backstory about the Queen of Thornes backpedaling out of an arranged marriage with a Targaryen, there’s no indication that she used sexual wiles to accomplish it. Works well for the show, though, and building up Margaery’s manipulations. (Sidenote—I’m glad that they didn’t have Marg involved in the murder scheme. Being politically savvy doesn’t have to mean you’re prime material for plotting a murder.) I’m told that her late night scene with Tommen is akin to a young man’s wet dream. :P The character is much younger on the show, so this wouldn’t be appropriate, but Margaery does try to forge a connection with him, despite Cersei’s misgivings. I’ll give a shoutout to Dean-Charles Chapman, who played an entirely different character last season, but I never would have recognized him. He brings out Tommen’s kindness, naiveté, and feline appreciation, yay. :P He’s older on the show but somehow he makes this work, perhaps because he’s also been victimized by Joffrey.
The Lannister siblings are all a little too preoccupied to notice most of this, with Jaime uncomfortably in the middle. I thought Nickolaj played that off well, being sympathetic to Cersei with Tyrion and Tyrion with Cersei. That being said, in the novels he doesn’t speak to Tyrion until a later point (and doesn’t speak with Bronn at all, as previously noted.) It makes more sense, in the show, for these brothers to be open about their concerns and grievances; adds to the drama.
Cersei’s coldness with Jaime mirrors how she’s growing more paranoid and isolated after Joffrey’s death, and she’s rarely without a wine glass now. :P Lena does such a great job of playing a woman who has absolutely convinced herself that her little brother is her enemy—her mind brooks no argument. She’s also, canonically, after Sansa’s head, which might lead him to the next scene.
The specifics are different, because in canon once Brienne arrives from the road Loras has her imprisoned for Renly’s murder; on the show Loras always blamed Stannis. So Jaime has to meet her in her cell, and also give her money and a note saying she’s on “king’s business,” and he names the sword. (Of course, I’m in love with the romanticism of Brienne protecting Sansa with the sword forged from her father’s steel, Stark swoon!) I definitely prefer Brienne naming it, because she’s the one on the quest for Sansa. Also, not that I’m surprised, but they excised my favorite line in the entire series: Jaime saying “Sansa Stark is my last chance for honor.”
Instead, on the show, they focus on his mockery-worthy kingsguard backstory, which in part propels Jaime to help Brienne keep their oath to Catelyn. Overall I loved this, and the goodbye scene; the actors have great chemistry and the relationship between characters is so organic and interesting. I can see why people like it; Jaime and Brienne bring out the best in each other.
Podric and Brienne do travel out together on this quest, but the circumstances are different and spoilery. I like it for the show because it encourages new characters to interact, and it ties in with what they set up in the episode previous. Not to mention that even in canon Tyrion owes Pod a life debt. And we get to hear Pod stumble over the “ser, my lady” lines, teehee. In the books, it gets a bit tedious after awhile. But speaking of actor chemistry, I’m definitely happy with what I see here, and I know I’m not the only one. Nothing like a stoic knight and a bumbling but well-meaning squire…and the fact that she’s a woman makes it different and intriguing.
Finally, to end with Sansa. Perhaps for the first time, the show gives her more agency than the books, where Littlefinger tells her straight out about his and Olenna’s involvement in Joffrey’s death, rather than having her tease out the clues about his methods and motivations. You know how I love my character building journeys!
There was also a very clever moment at the end of Littlefinger’s dialogue, where he referenced his co-conspirators with the phrase “growing strong,” (the Tyrell motto, and also bleeding into the scene with Margaery and Olenna. :P) Littlefinger can still be more mustache-twirly on the show than he is in the books, but it’s an effect I’ve come to expect by this point. Aiden Gillen isn’t even using the “Darth Froggie” voice in this scene, though it is coming. :P Of course I also expect all of the ways he finds to touch Sansa, and it still skeeves me out. But I can’t deny that I love this relationship, because of what it means for Sansa’s character.
In King’s Landing, as Tyrion’s wife, as Joffrey and Cersei’s plaything, her life was pretty stagnant. There’s not much she could do, as a caged bird, to grow as a person. But now, in a new location for the first time in years, and without the overbearing presence of the Lannisters, by default she has to grow and change, and use the survival skills she learned in captivity in different ways. Have I mentioned enough times in this review that I love character development? Because I do, I really do. :P
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