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scifi_rewatchNamed for the House Martell motto (and the weakest storyline of season five), this title feels especially sadistic in light of the hour’s ending. Welcome to the biggest and most controversial episode involving a rape. I seem to say that every year (and I was really hoping for a break after the Jaime/Cersei thing in season four). I’m not sure how we can get much worse than this reaction, barring real life criminal charges or something.
I have thought and re-thought, written and re-written, more responses to this twist in Sansa’s storyline, to rival how many think pieces I’ve read about it. And trust me, with boycott calls ranging from popular pop culture news sites to U.S. senators, there were a lot of those. During live airing, when only one episode would show per week, I was on pins and needles about how this would resolve and what it would mean for Sansa’s character. I definitely have my dislikes about how the final scene was handled—particularly that it was the final scene. But over all I respect Sansa’s development, and the development for most of the characters. A lot of them, women in particular, are struggling with the repercussions of decisions they’ve made. It’s just that Sansa’s in particular brush up against a violent patriarchal system that endorses marital rape.
And just before I go on here—a word of sympathy for people who’ve decided no longer to watch or cover the show, or who have strong emotional reactions to this development. “Game of Thrones” deals in many gruesome elements—from cock merchants, to Faceless Men euthanisation, to religious trials where homosexuality is met with imprisonment. But these acts, for most of the predominately modern Western society that watches this show, are truly the stuff of fantasy. Rape happens every day, to a large percentage of our population on every corner of the world. Empathy about that fact can only make the world a better place.
But there’s a lot more to talk about with regards to this episode, too!
Summary
Braavos
Sick of washing bodies, Arya inadvertently learns the rules of the Game of Faces when she confronts the waif. Later, she fails at it alone with Jaqen, but then she succeeds when a father brings his young, suffering daughter for relief from the Many Faced God. Jaqen then brings her into the Hall of Faces and suggests that although she’s not ready to become “no one,” she might be ready to become “someone else.”
On the road to Meereen
Marooned without their boat, Jorah and Tyrion make their way by land. Jorah explains how Daenerys made him a believer, and Tyrion lets loose with the unfortunate news that Jorah’s father is dead. They are captured by slavers, and when they learn that Dany has re-opened the fighting pits, they pass Jorah off as a great fighter.
Dorne
Myrcella and Trystane flirt in the gardens, but Doran knows trouble is coming. Jaime and Bronn make it inside around the time that the Sand Snakes arrive to kidnap the princess. Fighting ensues until Doran’s men break it up, and everybody, including Ellaria and sans the lovebirds, are arrested.
King’s Landing
Littlefinger makes a shocking move by telling Cersei of the Bolton/Sansa marriage alliance, and then promises to take the Knights of the Vale to deal with the traitors. Olenna arrives to deal with Loras’s inquest, where Margaery is also forced to testify on his behalf. They are both undone by Olyvar, who tells of his relationship with Loras and Margaery’s knowledge of it, which leads to the imprisonment of both Tyrell siblings.
Winterfell
Myranda warns Sansa of Ramsay’s behavior as she prepares her for the wedding. Sansa refuses to have Theon touch her as he escorts her to the godswood, where she marries Ramsay. Afterwards Ramsay makes Theon watch, and then he rapes Sansa.
Differences from book to screen
Braavos: The game of faces in the book specifically alludes to controlling ones face and voice to tell more convincing lies. The waif, when playing with Arya, says she’s from Braavos rather than Westeros. Arya doesn’t get to be “someone else” before a few other significant plot points pass. Sometimes the Faceless Men just put on faces to assassinate, without having to create an identity for the disguise. The waif is also with Arya in the Hall of Faces. Arya also doesn’t assist anyone in dying via the poisoned water.
Road to Meereen: Tyrion, Jorah and the character Penny are captured by slavers, though from a ruined ship rather than stumbling into their midst on land. Penny is also a dwarf, so she and Tyrion put on amusements and don’t face death. Jorah is much gruffer in the books so there’s not as much camaraderie; also, Tyrion hasn’t heard about Jeor’s death to share the news.
Dorne: Myrcella and Trystane are much younger, and ergo not romantic yet. Arianne has a plot to smuggle Myrcella out of the Water Gardens to crown her, but it’s a lot more detailed than the sudden Sand Snake attack. There is no violent attack, especially since the Sand Snakes have been arrested for a long time. Jaime and Bronn, of course, aren’t present, and Ellaria stands for peace.
King’s Landing: Margaery is arrested for adultery, not bearing false witness, though Cersei is heavily invested in both book and show. Loras isn’t on trial and Olenna isn’t present. Olyvar is a creation of the show, though Cersei coerces Margaery’s false lovers to testify against her. Neither Littlefinger nor Lancel are in King’s Landing, and the Faith Militant isn’t quite so…militant, at least in everyday affairs. Littlefinger’s plan in the book appears to be revealing Sansa’s identity and then having the Knights of the Vale pledge to fight for her; he doesn’t pitch Cersei and Hosue Lannister into the equation so directly, though he is all for the Houses destroying each other so he can parlay his own power.
Winterfell: Jeyne pleads for help from Theon before the wedding, and the northern lords are much more prominent. That’s why Theon is there; to confirm that Jeyne is actually Arya. The book spends more time on the wedding the feast. The show skips straight to the rape, which, although canonically features less tense build up, is ultimately an even uglier affair, including Theon's forced participation.
Thoughts
If anything, this latest rape debacle makes me realize how much I dislike how it was handled in the book. Jeyne is merely an instrument to be tortured; although we’ve known her since book one she’s had next to no character development, especially since she’s never been a POV. Jeyne’s abuse at the hands of her husband, which we don’t see directly past the wedding night, but we hear described after the fact, is far worse than what Ramsay does to Sansa. This isn’t to discount Sansa’s experience, but the show did deliberately tone it down. Though it’s a bit of a double edged sword to have a rape victim who is a major character, and whose storyline seems to be infused with suffering. The books have a somewhat smaller audience, who basically focus on the trials and travails of POV characters. (Jeyne’s experience is, in fact, just fodder for Theon’s ultimate growth.) The show has a much wider audience, and methinks rape is more potent in a visual medium.
For the showrunners, I think they’re saying that Sansa is deliberately playing the game. They even contrast her, in the "Beyond the Episode" feature, to Myrcella, who is “just a pawn.” Sansa used to be a pawn, but she chooses this marriage to Ramsay, for the reasons that she and Littlefinger discussed previously this season. Like with Cersei deciding to betray the Tyrells, Margaery deciding to lie for her brother, the Sand Snakes deciding to fight and Arya deciding to euthanize the little girl, these actions have consequences. But we are walking a very thin line here. Nothing—including Myranda’s “warnings” about Ramsay’s behavior—justify Sansa being raped. But I am saying that the show depicts her as more complex than a one-dimensional victim like Jeyne. The game is rigged, hers moreso than any of the trials that these other women face at present. But she’s still a player. And despite the fact that we ended on his face, the Winterfell arc is just as much about Sansa as it is about Theon.
I do hate that the rape was the last scene of the episode, though. That, along with the slow build up to the inevitable conclusion, felt like shock value. I kind of wish they’d did it the way they did the Dany/Drogo scene in season one. I’m also annoyed that basically, this scene comes down to Ramsay being a psychopath. Which we’ve seen plenty of evidence about before. But the underlying subtlety is that Westeros is a society that does not recognize female autonomy in sex. There is no such thing as “marital rape,” whether it’s Ramsay and Sansa or Jaime and Cersei (yes, I’m bringing up THAT episode again. :P Because, more or less anyway, the twins ARE married in spirit, and ergo Jaime feels entitled to her body. I talked about it in more detail in that episode recap.)
And my final anti-rape plotline point. When rape is used for shock value, it often doesn’t inform the characters in and of itself. What I mean to say is: Sansa has been raped. This means that her relationship to sexual situations and the people surrounding them ought to be a little altered. Look, I get that “Game of Thrones” isn’t going to be an interior domestic drama. But I am holding out hope that Sansa’s relationship to Littlefinger might change in upcoming seasons. Just to go ahead and spoil it—they don’t see each other for the rest of this season. :P I don't think they've seen the last of each other in the show over all, though.
Tl;dr—despite the immediate situation, I don’t think that the rape deters from Sansa’s character growth BEYOND the rape, but I hope that it also informs how she responds to future sexual situations. But the scene itself played too much as shock value from a well-established psychopath.
I’m going to slowly move on from this, I PROMISE. There are so many character similarities between Arya and Sansa this episode that Bryan Cogman remains my hero. I can tell he cares about both girls. The first one I picked up on was highly topical—Maisie just looked like Sophie when she was lying on her side. Another similarity is how Arya washes the dead hair and Myranda washes Sansa’s hair. Both Stark sisters face a conundrum that might strip them of their identities—Sansa’s is more metaphorical in the godswood than Arya’s is in the Hall of Faces. (And dude, for how cool that Hall of Faces was, that wedding scene was uncomfortably beautiful. The majestic tree.... I especially appreciated the patriarchal gesture that the marriage pact was drawn up between three men, and Sansa only had the chance to speak up at the end.)
Back to Arya, I think what made me most relieved was the confirmation that she doesn’t actually hate Sandor, she’s just deluding herself. I’m just speaking from the standpoint that too much hatred is a dangerous thing, a stone acound her neck. It’s nice to know that Arya still has the capacity for forgiveness. For the most part she still sees herself as a tool of vengeance, and it’s kind of frustrating yet amusing seeing her try to outwit accomplished liars in the game of faces. It doesn’t even occur to her until the waif tricks her that the game is actually about creating a convincing, new identity. Granted, when Arya feels sympathy for the little girl, she’s finally able to complete that task. Then her time washing the body bears new meaning since she actually knew the girl’s pain for a little bit. The Faceless Men are slowly opening doors for Arya, both literally and figuratively. But to give up her identity? Everything that makes her her? This is a steep price for almost anyone to pay.
I’m just going to roll right past Dorne, because it was stuuuuupid. Critics and fans who are more attuned to the action sequences say that even the fighting sucked. And all of that Bronn/Sand Snakes fighting flirtation, just gag me. The only thing of interest was Jaime realizing that Myrcella was actually quite happy there, and there will be more to talk about on that front in later episodes.
The slavery plot was relatively pedestrian; just a way to get Jorah and Tyrion from point A to point B. Their roadside conversation was far more intriguing. It was intriguing to hear about how the events we witnessed in season one shaped Jorah’s character and bonded him to Dany’s cause. Tyrion, of course, who remains cynical, has more realistic concerns about her plopping down with three dragons to rule Westeros. But Jorah is a believer. Dany is his present and future…his past is sort of a closed door until Tyrion lets him know that his father died. :/ Again, a nice way for the audience to recognize how these stories tie in together, but even more awesome to see Iain Glenn play Jorah’s reaction to the news. Bravo, sir.
Finally, the period political drama that is King’s Landing. :P The Lancel/Littlefinger moment was a nice, if largely inconsequential moment, at least in the short run. More shocking is Baelish backstabbing the Boltons by announcing “their” marriage scheme to Cersei. At the end of this exchange, where he suggests leading the Knights of the Vale to fight off either Roose or Stannis and then be named Warden of the North, his master plan becomes clear. Pit the Great Houses against each other, play all sides, and then collect what spoils you can.
The only thing that makes me eyerolly about the Margaery/Olenna exchange is, once again, referencing that the gay characters are all promiscuous. Again, there’s a difference between Loras taking on one lover after Renly died, versus Renly shagging half the stable boys or whatever. But overall, Dame Diana Rigg was awesome, as always. Her entire scene with Cersei, where she was calling the Queen’s game, was amazing, but nothing beats that “you gotta be shitting me” expression at the end. Ensuring that both of the Tyrell grandkids are imprisoned? Fucking around with a needed alliance? Cersei’s paranoia about keeping her children safe has reached new heights.
And poor Tommen, not wanting to risk violence by having his Kingsguard attack the Faith Militant (yet again. This marriage does seem to be going downhill. :/) And poor Olyvar, too—after he witnessed the homophobic acts in the brothel, plus being cornered by all of these incredibly powerful people, is it that shocking that he betrayed Loras? This is basically the same scam that Cersei pulled with Tyrion and Shae, too. The only thing I didn’t like about Olyvar is that he sounded a liiiitle too cocky during his testimony. But talk about nitpicking. Especially in this episode, I’m willing to let that one slide.
…you thought I was finished talking about Sansa, but I WASN’T! :P Just one final note. I love that she is so easily able to read Myranda’s intentions. Sophie played that scene to perfection, so assured. Yes, it’s true that Ramsay is bad news (though Sansa is also much more important to the North than his other victims). But the Lady of Winterfell is still coming into her own. :D
I have thought and re-thought, written and re-written, more responses to this twist in Sansa’s storyline, to rival how many think pieces I’ve read about it. And trust me, with boycott calls ranging from popular pop culture news sites to U.S. senators, there were a lot of those. During live airing, when only one episode would show per week, I was on pins and needles about how this would resolve and what it would mean for Sansa’s character. I definitely have my dislikes about how the final scene was handled—particularly that it was the final scene. But over all I respect Sansa’s development, and the development for most of the characters. A lot of them, women in particular, are struggling with the repercussions of decisions they’ve made. It’s just that Sansa’s in particular brush up against a violent patriarchal system that endorses marital rape.
And just before I go on here—a word of sympathy for people who’ve decided no longer to watch or cover the show, or who have strong emotional reactions to this development. “Game of Thrones” deals in many gruesome elements—from cock merchants, to Faceless Men euthanisation, to religious trials where homosexuality is met with imprisonment. But these acts, for most of the predominately modern Western society that watches this show, are truly the stuff of fantasy. Rape happens every day, to a large percentage of our population on every corner of the world. Empathy about that fact can only make the world a better place.
But there’s a lot more to talk about with regards to this episode, too!
Summary
Braavos
Sick of washing bodies, Arya inadvertently learns the rules of the Game of Faces when she confronts the waif. Later, she fails at it alone with Jaqen, but then she succeeds when a father brings his young, suffering daughter for relief from the Many Faced God. Jaqen then brings her into the Hall of Faces and suggests that although she’s not ready to become “no one,” she might be ready to become “someone else.”
On the road to Meereen
Marooned without their boat, Jorah and Tyrion make their way by land. Jorah explains how Daenerys made him a believer, and Tyrion lets loose with the unfortunate news that Jorah’s father is dead. They are captured by slavers, and when they learn that Dany has re-opened the fighting pits, they pass Jorah off as a great fighter.
Dorne
Myrcella and Trystane flirt in the gardens, but Doran knows trouble is coming. Jaime and Bronn make it inside around the time that the Sand Snakes arrive to kidnap the princess. Fighting ensues until Doran’s men break it up, and everybody, including Ellaria and sans the lovebirds, are arrested.
King’s Landing
Littlefinger makes a shocking move by telling Cersei of the Bolton/Sansa marriage alliance, and then promises to take the Knights of the Vale to deal with the traitors. Olenna arrives to deal with Loras’s inquest, where Margaery is also forced to testify on his behalf. They are both undone by Olyvar, who tells of his relationship with Loras and Margaery’s knowledge of it, which leads to the imprisonment of both Tyrell siblings.
Winterfell
Myranda warns Sansa of Ramsay’s behavior as she prepares her for the wedding. Sansa refuses to have Theon touch her as he escorts her to the godswood, where she marries Ramsay. Afterwards Ramsay makes Theon watch, and then he rapes Sansa.
Differences from book to screen
Braavos: The game of faces in the book specifically alludes to controlling ones face and voice to tell more convincing lies. The waif, when playing with Arya, says she’s from Braavos rather than Westeros. Arya doesn’t get to be “someone else” before a few other significant plot points pass. Sometimes the Faceless Men just put on faces to assassinate, without having to create an identity for the disguise. The waif is also with Arya in the Hall of Faces. Arya also doesn’t assist anyone in dying via the poisoned water.
Road to Meereen: Tyrion, Jorah and the character Penny are captured by slavers, though from a ruined ship rather than stumbling into their midst on land. Penny is also a dwarf, so she and Tyrion put on amusements and don’t face death. Jorah is much gruffer in the books so there’s not as much camaraderie; also, Tyrion hasn’t heard about Jeor’s death to share the news.
Dorne: Myrcella and Trystane are much younger, and ergo not romantic yet. Arianne has a plot to smuggle Myrcella out of the Water Gardens to crown her, but it’s a lot more detailed than the sudden Sand Snake attack. There is no violent attack, especially since the Sand Snakes have been arrested for a long time. Jaime and Bronn, of course, aren’t present, and Ellaria stands for peace.
King’s Landing: Margaery is arrested for adultery, not bearing false witness, though Cersei is heavily invested in both book and show. Loras isn’t on trial and Olenna isn’t present. Olyvar is a creation of the show, though Cersei coerces Margaery’s false lovers to testify against her. Neither Littlefinger nor Lancel are in King’s Landing, and the Faith Militant isn’t quite so…militant, at least in everyday affairs. Littlefinger’s plan in the book appears to be revealing Sansa’s identity and then having the Knights of the Vale pledge to fight for her; he doesn’t pitch Cersei and Hosue Lannister into the equation so directly, though he is all for the Houses destroying each other so he can parlay his own power.
Winterfell: Jeyne pleads for help from Theon before the wedding, and the northern lords are much more prominent. That’s why Theon is there; to confirm that Jeyne is actually Arya. The book spends more time on the wedding the feast. The show skips straight to the rape, which, although canonically features less tense build up, is ultimately an even uglier affair, including Theon's forced participation.
Thoughts
If anything, this latest rape debacle makes me realize how much I dislike how it was handled in the book. Jeyne is merely an instrument to be tortured; although we’ve known her since book one she’s had next to no character development, especially since she’s never been a POV. Jeyne’s abuse at the hands of her husband, which we don’t see directly past the wedding night, but we hear described after the fact, is far worse than what Ramsay does to Sansa. This isn’t to discount Sansa’s experience, but the show did deliberately tone it down. Though it’s a bit of a double edged sword to have a rape victim who is a major character, and whose storyline seems to be infused with suffering. The books have a somewhat smaller audience, who basically focus on the trials and travails of POV characters. (Jeyne’s experience is, in fact, just fodder for Theon’s ultimate growth.) The show has a much wider audience, and methinks rape is more potent in a visual medium.
For the showrunners, I think they’re saying that Sansa is deliberately playing the game. They even contrast her, in the "Beyond the Episode" feature, to Myrcella, who is “just a pawn.” Sansa used to be a pawn, but she chooses this marriage to Ramsay, for the reasons that she and Littlefinger discussed previously this season. Like with Cersei deciding to betray the Tyrells, Margaery deciding to lie for her brother, the Sand Snakes deciding to fight and Arya deciding to euthanize the little girl, these actions have consequences. But we are walking a very thin line here. Nothing—including Myranda’s “warnings” about Ramsay’s behavior—justify Sansa being raped. But I am saying that the show depicts her as more complex than a one-dimensional victim like Jeyne. The game is rigged, hers moreso than any of the trials that these other women face at present. But she’s still a player. And despite the fact that we ended on his face, the Winterfell arc is just as much about Sansa as it is about Theon.
I do hate that the rape was the last scene of the episode, though. That, along with the slow build up to the inevitable conclusion, felt like shock value. I kind of wish they’d did it the way they did the Dany/Drogo scene in season one. I’m also annoyed that basically, this scene comes down to Ramsay being a psychopath. Which we’ve seen plenty of evidence about before. But the underlying subtlety is that Westeros is a society that does not recognize female autonomy in sex. There is no such thing as “marital rape,” whether it’s Ramsay and Sansa or Jaime and Cersei (yes, I’m bringing up THAT episode again. :P Because, more or less anyway, the twins ARE married in spirit, and ergo Jaime feels entitled to her body. I talked about it in more detail in that episode recap.)
And my final anti-rape plotline point. When rape is used for shock value, it often doesn’t inform the characters in and of itself. What I mean to say is: Sansa has been raped. This means that her relationship to sexual situations and the people surrounding them ought to be a little altered. Look, I get that “Game of Thrones” isn’t going to be an interior domestic drama. But I am holding out hope that Sansa’s relationship to Littlefinger might change in upcoming seasons. Just to go ahead and spoil it—they don’t see each other for the rest of this season. :P I don't think they've seen the last of each other in the show over all, though.
Tl;dr—despite the immediate situation, I don’t think that the rape deters from Sansa’s character growth BEYOND the rape, but I hope that it also informs how she responds to future sexual situations. But the scene itself played too much as shock value from a well-established psychopath.
I’m going to slowly move on from this, I PROMISE. There are so many character similarities between Arya and Sansa this episode that Bryan Cogman remains my hero. I can tell he cares about both girls. The first one I picked up on was highly topical—Maisie just looked like Sophie when she was lying on her side. Another similarity is how Arya washes the dead hair and Myranda washes Sansa’s hair. Both Stark sisters face a conundrum that might strip them of their identities—Sansa’s is more metaphorical in the godswood than Arya’s is in the Hall of Faces. (And dude, for how cool that Hall of Faces was, that wedding scene was uncomfortably beautiful. The majestic tree.... I especially appreciated the patriarchal gesture that the marriage pact was drawn up between three men, and Sansa only had the chance to speak up at the end.)
Back to Arya, I think what made me most relieved was the confirmation that she doesn’t actually hate Sandor, she’s just deluding herself. I’m just speaking from the standpoint that too much hatred is a dangerous thing, a stone acound her neck. It’s nice to know that Arya still has the capacity for forgiveness. For the most part she still sees herself as a tool of vengeance, and it’s kind of frustrating yet amusing seeing her try to outwit accomplished liars in the game of faces. It doesn’t even occur to her until the waif tricks her that the game is actually about creating a convincing, new identity. Granted, when Arya feels sympathy for the little girl, she’s finally able to complete that task. Then her time washing the body bears new meaning since she actually knew the girl’s pain for a little bit. The Faceless Men are slowly opening doors for Arya, both literally and figuratively. But to give up her identity? Everything that makes her her? This is a steep price for almost anyone to pay.
I’m just going to roll right past Dorne, because it was stuuuuupid. Critics and fans who are more attuned to the action sequences say that even the fighting sucked. And all of that Bronn/Sand Snakes fighting flirtation, just gag me. The only thing of interest was Jaime realizing that Myrcella was actually quite happy there, and there will be more to talk about on that front in later episodes.
The slavery plot was relatively pedestrian; just a way to get Jorah and Tyrion from point A to point B. Their roadside conversation was far more intriguing. It was intriguing to hear about how the events we witnessed in season one shaped Jorah’s character and bonded him to Dany’s cause. Tyrion, of course, who remains cynical, has more realistic concerns about her plopping down with three dragons to rule Westeros. But Jorah is a believer. Dany is his present and future…his past is sort of a closed door until Tyrion lets him know that his father died. :/ Again, a nice way for the audience to recognize how these stories tie in together, but even more awesome to see Iain Glenn play Jorah’s reaction to the news. Bravo, sir.
Finally, the period political drama that is King’s Landing. :P The Lancel/Littlefinger moment was a nice, if largely inconsequential moment, at least in the short run. More shocking is Baelish backstabbing the Boltons by announcing “their” marriage scheme to Cersei. At the end of this exchange, where he suggests leading the Knights of the Vale to fight off either Roose or Stannis and then be named Warden of the North, his master plan becomes clear. Pit the Great Houses against each other, play all sides, and then collect what spoils you can.
The only thing that makes me eyerolly about the Margaery/Olenna exchange is, once again, referencing that the gay characters are all promiscuous. Again, there’s a difference between Loras taking on one lover after Renly died, versus Renly shagging half the stable boys or whatever. But overall, Dame Diana Rigg was awesome, as always. Her entire scene with Cersei, where she was calling the Queen’s game, was amazing, but nothing beats that “you gotta be shitting me” expression at the end. Ensuring that both of the Tyrell grandkids are imprisoned? Fucking around with a needed alliance? Cersei’s paranoia about keeping her children safe has reached new heights.
And poor Tommen, not wanting to risk violence by having his Kingsguard attack the Faith Militant (yet again. This marriage does seem to be going downhill. :/) And poor Olyvar, too—after he witnessed the homophobic acts in the brothel, plus being cornered by all of these incredibly powerful people, is it that shocking that he betrayed Loras? This is basically the same scam that Cersei pulled with Tyrion and Shae, too. The only thing I didn’t like about Olyvar is that he sounded a liiiitle too cocky during his testimony. But talk about nitpicking. Especially in this episode, I’m willing to let that one slide.
…you thought I was finished talking about Sansa, but I WASN’T! :P Just one final note. I love that she is so easily able to read Myranda’s intentions. Sophie played that scene to perfection, so assured. Yes, it’s true that Ramsay is bad news (though Sansa is also much more important to the North than his other victims). But the Lady of Winterfell is still coming into her own. :D
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