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The Frustratingly Harmful LGBT+ Representation in Weiseroff’s Westeros

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Content Warning: This article discusses verbal abuse, sexual slavery, and rape as depicted on Game of Thrones.

After torturing myself with a rewatch of the sixth season of Game of Thrones, (hey it’s okay to hate watch!), I’ve been thinking a lot about the concept of ‘adaptation’. While I think we can all safely say that the show has moved so far off from its source material that ‘adaptation’ might not be the right word anymore, the process of adapting is still one of the greatest means of critiquing our media today. It gives us a grander view behind the curtain at all the cogs and machinery that go into the choices the creators make. On an original show, one doesn’t have the privilege of comparison. Filmmaker’s intention and the implications of the material can be more difficult to pin down without a source material to compare it to.

With Game of Thrones (“Thrones” from here on out) we have the ability to see when changes or omissions were made, what they entail, and thus what they mean. It’s the widest view into creator intention that could possibly exist, and it’s what makes Thrones criticism some of the strongest and most comprehensible criticisms of part of the art that doesn’t always resemble the finished product: the development.

Creators, when adapting already written material, make a choice when they cut something or change something. Whether that choice means they didn’t think something was important, they didn’t think it was good enough, or they thought they had something better to service the story, it all leads back to initial developmental decisions that reflect on the creators.

David Benioff and D.B. Weiss have made all kinds of choices when adapting George R.R. Martin’s high fantasy series A Song of Ice and Fire. From the smallest changes that might have you asking as a book reader “Are they doing this just to spite me?” to glaring changes and omissions that say a lot more. One of the most personally frustrating parts of the show and its current place in pop culture is its depiction of sexuality, which is what I want to address today.

After Yara’s latest hitch as a swashbuckling rapist lesbian this past season and the treatment of Loras Tyrell, it’s clear that the sexuality spectrum has never been their strong suit. And let’s not forget Oberyn “I have to grab every ass in the room to prove to you I’m bisexual” Martell. However, in the books, there’s more fluidity. There’s more truth. That’s not to say that A Song of Ice and Fire is a beacon of light for LGBT+ representation in fantasy literature, but it’s leaps and bounds above its television adaptation. Suffice to say, the final result doesn’t paint a pretty picture of the movers behind the cogs.

For starters, the primary characters that the show has chosen to depict that are within the LGBT+ community are limited to the three mentioned above. None are depicted in well-rounded or positive ways in the adaptation. One was reduced to their sexuality and their sexuality alone, losing any and all characterization (Loras). Another become no more than the caricature of their sexuality that they were intentionally putting out as a front (Oberyn). The third was reduced to representing a letter in the acronym to check off a quota and, in doing so, became representative of the toxic masculinity that is so often forced upon the community by people who have never navigated it (Yara).

Loras Tyrell

Can you feel the Finn Jones D&D salt?

Sexuality is important and it’s a topic that Thrones, which claims to be a progressive force of fiction, continually fails to handle well. Loras’ character has been reduced to his sexuality ever since Renly’s death on the show. After being reduced to one part of his identity, he is then condemned for it, confesses to having sinned, and is mutilated as punishment all before he gets blown up with a mass of people at Kings Landing.

 

In the books, Loras is a knight. He’s proud, dashing, a great warrior, short-tempered, headstrong, and very much resembles a younger Jaime Lannister. They’re fascinating foils for each other in the books. Loras’ attempts to balance his journey as a knight and member of the Kingsguard with his love for Renly, a love that lasts more than a scene or two in the books in terms of grief, shows Jaime who he was and who he could be. Loras, Jaime laments, is stubborn and a little vain, but he is truthful. He is worthy of the title of knight and because of the heart, honor, and pride that guide him, he will most likely end up on the great pages of the White Book. He will thus secure his place in noble Westerosi history, a place that Jaime is trying to rewrite for himself.

“He is proud and reckless and full of piss, but he is not false. Not yet.” – A Storm of Swords, Jaime VIII

Moreover, Loras Tyrell’s love for Renly runs strong and true, so much so that he says, “When the sun has set, no candle can replace it.” In the show, they focus on his sexuality more than any other characteristic. He sleeps around after Renly’s death (there are jokes about him sleeping with every stable boy in King’s Landing), which perpetuates the stereotype that gay people are more promiscuous. In the books, Loras has this beautiful arc about coming to terms with Renly’s death that runs parallel to his virtuosity as the ideal picturesque vision of knighthood. All of that nuance is lost on the show.

Oberyn

Yes…these articles exist and they are as bad as they sound. (source)

Oberyn’s sexuality on the show is essentially as heavy handed and offensive as Loras’. The writing of Oberyn evinces the horrible trope where bisexuals are hyper-sexualized. In order to prove to the audience that they are bisexual, writers feel the need to depict them in bed with both sexes repeatedly. It’s why Benioff and Weiss set practically all of Oberyn’s scenes in a brothel. Such damaging stereotypes about bisexuality, as well as the oversexualized POC imagery they are pushing, are all fronts Oberyn puts on for the people at Kings Landing to shock them. However, Benioff and Weiss took this act seriously (probably because they didn’t end up adapting the POV character that breaks the racist caricatures of Dorne) and in doing so, made his sexuality the punchline, just as Loras’ was.

 

In the books, when Oberyn comes to Kings Landing, he puts on the facade of being the racist Dornish stereotype everyone thinks him to be. He flaunts his sexuality and progressiveness in front of them all because he wants to make them uncomfortable and knows that it will. However, the stereotype Oberyn perpetuated to disquiet everyone with his presence was quickly broken down by the narrative. The Dornish no longer seemed a stereotype once we heard his deeper conversations with Tyrion. Even less so once we got Dornish perspectives in the story.

Yara

Yara, however, is probably the most offensive of all and so incredibly frustrating. In a perfect world, the possibility of a character that I am emboldened by as much as I am by her book counterpart being apart of the community I identify with would be a jump for joy moment. Instead, it was a disastrous series of events as the writers took Yara’s book counterpart and made her revolting rather than empowering.

My immediate emotional reaction to the Volantis brothel scene in Season 6 was revulsion. I sat there dumbstruck at how they could have made this scene even worse than I could have possibly imagined it after the release of the trailer. I could not understand how people online were shouting happily about the fact that Yara was a lesbian and how great of a piece of representation what they just saw on their screen was. It took me a moment, because of this disparity of opinions, to come to terms with the fact that I wasn’t exaggerating. I realized that people are so starved for any form of representation on screen that validates their identity that even the most disgusting, problematic portrayal seems like a victory.

Moreover, the primary dialogue around the show seems afraid to actually critique its flaws, so I questioned whether or not I was making something bigger than it actually was. I wondered if my read on the situation was plagued by bias and assumption that the creators and writers meant something more sinister than they actually did. However, once I watched the “Inside the Episode” and deconstructed the choices they made, it was clear that the implications didn’t happen by accident.

The Yara ones are some how worse than Oberyn’s. “I’m gonna fuck the tits off this one” is endearing? I guess I’m out of touch with my community. (source)

One of the biggest problems I have with the show in general is framing, which brings me to the age old battle of depiction versus endorsement. You’re allowed to depict something horrible, as long as the lens through which you tell your story doesn’t endorse it. Context must clearly communicate the act as horrible. With Yara, while it would still be disgusting character assassination and bad representation, if they at least framed her actions as negative, I would have been more comfortable with watching it play out on my screen. If Yara’s verbal abuse of an already abused victim and rape of a sex slave was looked at through a lens indicating that what she is doing isn’t right and highlighting her wrongdoings, then it wouldn’t be as problematic. Instead, her actions were framed as positive.

 

This Yara is saturated with toxic masculinity. The reaction Yara has to seeing her brother again this season has been incredibly jarring, disturbing, and virulent. Her relationship with Theon was previously established on the show as one of love and care, so much so that she was willing to shake all responsibilities and the will of Balon to attempt a rescue.

“I’m going to pick the fastest ship in our fleet. I’m going to choose the fifty best killers on the Iron Islands. I’m going to sail up the Narrow Sea, all the way to the Weeping Water. I’m going to march on the Dreadfort. I’m going to find my little brother. And I’m going to bring him home.”– Yara, 3.10 “Mhysa”

This doesn’t sound like a person who would subsequently tell her brother, when he is in the most need of her support and care, that he should kill himself or forget his trauma. There’s uneven characterization in general. Where previously Yara combated the Ironborn ways of life, commenting on the futility of reaving, she tries to earn support at the Kingsmoot by pledging to command the biggest fleet the Iron Islands have ever seen. While an arc of wanting to change a damaged and futile system emerges early on, it begins to quickly disappear.

It’s lazy storytelling in general, crafted to fit the needs of the plot rather than character driven journeys. Especially when compared to the takeaway for Asha’s (Yara’s book counterpart) reaction to seeing her brother again for the first time, albeit under different circumstances, which is much stronger and sweeter. In a show and story that so rarely gives us beautiful and supportive relationships between siblings, where we get either the toxic incestuous relationship between Jaime and Cersei or even a seed of discourse stirring between Jon and Sansa after reuniting, showing this, especially in a people like the Ironborn, would have been beautifully meaningful. In a sample chapter from The Winds of Winter, the unreleased next installment of George R.R. Martin’s A Song of Ice and Fire series, Theon describes Asha’s reaction to seeing her brother and hearing his story.

“You have to know your name,” he’d told his sister. “You… you told me you were Esgred, but that was a lie. Your name is Asha.”
“It is,” his sister had said, so softly that he was afraid that she might cry.
The Winds of Winter, Theon I sample chapter

Asha turns her initial disgust at a creature she believed to be pathetic to endearing sincerity, care, and sadness for a brother she thought lost and a brother who had been broken apart.

Not only is Yara verbally abusive to Theon, but all of her interactions with the sex slaves tell a story of sexual abuse. In Volantis, slaves are marked by tattoos. Varys even explains this last year in his chat with Tyrion.

Tyrion: “Slaves?”

Varys: “Yes. The Volantine masters are very organized. Flies for dung shovelers. Hammers for builders. Tears for whores, lest they forget.”

–Varys, 5.03 “High Sparrow”

We are even told the specific tattoo that makes a sex slave: a tear drop. The woman Yara kisses has been marked with said tattoo and thus, is a sex slave. It’s information being directly fed to us on the screen, and it’s undeniable.

Poor Gemma Whelan deserves to sit the Salt Throne that I’m currently residing on to wreak havoc down on D&D for pure character assassination. Remember when she ran away from dogs?

Yet, the fact that this “glorious” bit of representation was a depiction of rape, not sexual agency, is completely missing from the dialogue regarding this scene. The sex slave has no agency. She is someone’s property who uses her as a good or service like an object, and Yara continues to treat her that way. She’s not free to make the decision to kiss Yara. She’s not free to act on her own accord. If someone is not psychically free, no matter what face they are putting on, they have no agency to make choices that dictate their life. Kissing a sex slave in a brothel isn’t a scene of proud sexuality and consent. If one person can’t properly give consent, it’s rape.

The worst part is, either the writers neglected to realize it’s rape, which they’ve done in the past, or they forgot what they had already written. Further along in the scene with Tyrion and Varys in Volantis, they show up at a brothel where Tyrion proceeds to turn down sex with a sex slave after charming her with his ‘wits’, because he’s too good for that narrative. God forbid we paint Tyrion in a negative light because on the show, he’s turned into a “Mary sue”-eqsue character who can do no wrong. He can’t bring himself to have sex with a slave because he knows she has no agency, and he’s jut too good of a guy to ever do that.

Either the writers forgot or expected their audience to forget the tattoo that marks the sex slaves, and so when this scene happened, they expected raves and cheers of support for their great instance of ‘representation.’ They chose not to frame Yara’s interaction with the sex slave as clear rape within the narrative when in the past season, Tyrion’s instance of refusing to partake in sex with one furthered his endless Nice Guy arc and continued to confirm him as a hero who can do no wrong. There are worrying implications from both a writer’s standpoint and a storytelling standpoint. Virtually the only instance of lesbian representation on this show is one of rape. At the same time, a straight hero was previously placed in the same situation with a more complicated underlying narrative wherein he chose to take the ‘moral’ high ground. This is more than just a commentary on the problematic Ironborn way of life.

This scene was one of the only scenes of sexual nature between two women, other than the brothel scenes with Littlefinger where they are all for the male gaze, and yet this felt just as gross. This one and only scene, a scene that had many people cheering, was a moment of rape and toxic masculinity internalized tenfold. I don’t think you can call it good representation when the lesbian character we’re supposed to identify with and support in the narrative is a rapist and a sexist who believes the women she is raping are things. Even without directly naming the slavery aspect in this episode, she calls the girl that she is going to “fuck the tits off of” “this one,” as if the slaves were an object. She’s not ‘navigating’ this patriarchal society. She’s perpetuating it here with rape and looking at sex slaves as objects, not people.

Within the structure and narrative of the Ironborn culture of the books, I could see Euron, Balon, the book character and other Greyjoy uncle Victorian, and even the past-Theon saying this, but Asha (Yara’s book counterpart)? Asha who was born into this lifestyle and culture but as a woman who had no interest in being a Salt Wife. Asha who had to grow up combatting the inherent sexism within her society in order to find a way to rule. One of the best examples of her attitude towards the Westerosi patriarchy and toxic masculinity in general comes from her POV chapter in A Dance with Dragons.

“Cunt again? It was odd how men like Suggs used that word to demean women when it was the only part of a woman they valued.”–A Dance with Dragons, The Sacrifice

Asha has been on the receiving end of a million “cunts” and a victim of sexism all her life. Living and growing up on the Iron Islands only multiplied it. A woman in her position, who’s had to navigate the Ironborn her whole life and earn their respect, knows how it feels to be mistreated for because of her gender. She had to work hard within that structure to prove herself as a a good ruler in order to get the type of support she wants, especially at the Kingsmoot, but this applies to Balon’s support as well. However, if Theon hadn’t been a victim of war and been taken by Ned to be his ward at Winterfell, I don’t doubt for one second that even one of her greatest supporters (Balon) wouldn’t have given her a second glance or anywhere near the amount of attention and respect that he did.

It only gets ‘better’. Gross. (source)

All of her “masculine” traits that she pushes in the books were products of fighting against the sexism of the Ironborn culture. She is forced to navigate it because she lives in it, but she also combats it. How else would she have been accepted and respected as the warrior and leader she had come to be in the Iron Islands? By taking Theon’s place and learning how to fight her battles against the system from within, she became the heir Balon had lost.

Instead of that narrative, where she’s a tough Ironborn but a victim of the system and culture that she must navigate and overcome, we get internalized misogyny multiplied and shot back uncritically. In the books, she is a captive of Stannis’ army, and one of her guards is Alysane Mormont. A relationship that begins as captive and captor turns into respect and earnest warmth. That journey of mutual female respect is documented through the names Asha uses to refer to Alysane. What starts out as “the She-Bear” becomes “Alysane” and eventually, “Aly.” This is not a woman who treats other women like things.

Yara is an abuser. From rape to verbally assaulting her abused brother Theon, she has become a grossly toxically masculine person, not just navigating but embodying all the bullshit she’s had to combat to command Ironborn ships and be respected as Balon’s heir. Why are we even supposed to favor and support her over her uncle Euron, who is just as toxically masculine and cruel? They think, behave, and internalize their culture to the same extent, and are virtually the same. Minus Euron’s kinslaying, which no one has an issue with anyway. It’s no wonder the Kingsmoot picked Euron after he discussed the size of his penis, since Yara’s mindset is consistent with that same dude-bro patriarchy brain.

I also have to mention that in the books she is straight, and vehemently so. Usually, I would be one of the first people jumping for joy at the notion of one of my favorite characters representing something so rarely represented on screen. However, I can’t help but think that the decision to make Yara, a less stereotypically feminine female character, gay reflects a stereotype that the show runners and creative team perpetuate in their heads. It’s at the very least consistent with Alex Graves calling Brienne, also a non-conventionally feminine character, a lesbian. It is also worrying because in the books, her heterosexuality is one of the few instances depicting female sexual agency and choice of partner for a woman in this society, contrasting all of the arranged marriages we see. In the show, Yara’s sexuality is changed to represent a different minority, but is showcased in such a way that she is the only one in the act with any agency.

And That’s It

This is all the representation we get? This is what websites are cheering about? This is what the show is getting applauded over? Thrones has never been good with diverse representation, especially not representation of sexuality. While it’s not easy to maintain every secondary and tertiary characters’ arcs, they should still be fleshed out and fully rounded people. Loras was gay. That was the only characterization they gave him and the only thing his scenes ever indicated or told us. They continued this pattern with Oberyn Martell and Ellaria Sand, both of whom are bisexual. Most of their scenes took place in a brothel. The show fell into the trap of equating bisexuality with hyper-sexuality, an offensive, harmful, and ridiculous stereotype. Yeah, they both could enjoy sex and engage in it often, but that’s not all they do. From the show, we wouldn’t have guess that. It’s one of the biggest issues they fell for when adapting Dorne in general.

A desired subversion of these stereotypes never comes on the show, and these people are all reduced to their sexuality. Thus, while another sexuality might have technically been “represented” on our screen, it was more harmful than honest and positive. Yara’s character and the situation in the brothel is downright damaging, yet it’s cheered in the critical and cultural dialogue. Furthermore, it’s supported in the narrative, as Weiss and Benioff don’t seem to see the toxicity in their relationship or the blatant abuse here as being harmful. After all, abusing an abuse victim is just “tough love” (according to their “Inside the Episode”). Rape is apparently a badass and brave form of lesbian representation, too. The writing refuses to frame Yara’s interaction with the sex slave as clearly negative and wrong, yet, they had no issue doing so with Tyrion. They reduced lesbianism down to a gratuitous representation of her sexuality, while also characterizing her as the toxically masculine face of sexism that stains Ironborn culture.

From the mess of what they chose to adapt to the nuance and character exploration of what they didn’t (i.e. Jon Connington or Taena Merrywhether) it’s clear that they made a choice. A choice that, in the end, resulted in both a stunted and harmful depiction of what little representation the LGBT+ community can claim in this blockbuster of a show. Choices matter, and as we move toward the end of the show, a show that some people are lauding as a beacon of feminism and representation in fantasy, it becomes clearer that what Benioff and Weiss are actually interested in adapting is not a genuine attempts to represent diverse communities as people. They seem far more interested in representation points, even if they perpetuate problematic stereotypes and falsities, in order to create the spectacle without heart that Thrones has become.


Images Courtesy of HBO

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Caroline
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So on point. Slay!

Red
Guest

Canon LGBT* characters from the books: Daenerys Targaryen (bisexual…although I DO have issues with how her sexuality was portrayed in the books, it’s there), King Stannis Baratheon (one of the few very well-written asexual characters out there), Prince Renly Baratheon (gay/possibly bisexual), Lord Jon Connington (gay), Ser Loras Tyrell (gay), Prince Oberyn Martell (bisexual), Ellaria Sand (bisexual), Nymeria Sand (lesbian), Sarella “Alleras the Sphinx” Sand (gender-nonconforming/possibly transgender), Lady Taena of Myr (lesbian/possibly bisexual), Xaro Xhoan Daxos (gay), Ser Lyn Cobray (gay), Hother “Whoresbane” Umber (gay/possibly bisexual)…probably forgetting a couple here but hey there’s the list off the top of my… Read more »

Ангелина (Angelina)
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Ангелина (Angelina)

I’d argue that Sarella is not any way transgender at all: her male guise is just a way to get higher education. Also I’d rather not count Lyn Corbray as ‘gay’, because it’s too ambigous if he is a gay or a pedofile (‘likes his boys young’ is… very edgy). Lastly, Taena is at least bisexual – she had a male lover.
Anyway you did a great summary))

Red
Guest

My read on Taena was that her marriage was purely political, and that she doesn’t really view her husband as more than a means to an end, hence why when she talks to Cersei about what she wants out of their alliance she only mentions her SON, not her husband…as opposed to Cersei, whom she’s clearly infatuated with. It’s been a while since I read those chapters, though. I have to reread them again.

Ivana
Member
Ivana

Taena is a spy, though, so it’s hard to know if she’s really infatuated with Cersei, or just really good at putting on an act to manipulate her.

Red
Guest

And with Lyn Cobray it’s…kinda both is my understanding of it. He’s gay and he’s a pedophile. If there weren’t LGBT+ characters across the spectrum of “good/moral — evil/immoral” in the books, I’d definitely be very uncomfortable with that. I’m giving Martin the benefit of the doubt with Cobray though. Feel he’s pretty much earned that.

Ангелина (Angelina)
Guest
Ангелина (Angelina)

Hm, in my opinion it’s different things (a gay person is a person attracted by same-sex post-puberty persons I mean), though I understand you point.
As for Taena, there are a lot of women who don’t love their husbands. She certainly is behaving in a seductive way towards men, and she has a male lover. And her relationship with Cersei is not a healthy one or even a consensual one, so… it’s much more complex. I could picture her as a straight woman forced into homosexual activities by Cersei. By the way, Cersei! She is bi)

Ivana
Member
Ivana

There is more reason to think Cersei is bisexual (though with a preference for men) than there is for Daenerys, IMO. I certainly wouldn’t classify Dany as bisexual. Cersei has some genuine attraction to Taena, but Dany feels no real attraction to Irri. It’s only convenience – Irri is little more than a vibrator, while Dany is fantasizing about men. Which does make me uncomfortable, but for the reason that Dany should know better than to treat Irri that way, because she knows that Irri offers sex because she feels it’s her duty to her khaleesi, and that Irri used… Read more »

Ангелина (Angelina)
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Ангелина (Angelina)

Dany is very young at that point, and not very… educated in that field, considering her own sad experience. She went through sexual exploitation and exploited her own sexuality herself, all with very little understanding of what she was doing, save for ‘make my life more comfortable’ idea. She was doing a bad thing, but I think it was not consciously bad – it was more erratic. She was offered, she took, she doesn’t yet understand that sex is something more than just simple motions. As for Cersei… she could be bi or at least bi-curious; but really I think… Read more »

Cynical Classicist
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Cynical Classicist

That makes sense. Cersei turning into what she hates, even down to becoming drunk and fat.

Ivana
Member
Ivana

Yes, I feel the same about that. Maybe I sounded harsher in how I worded it, but I don’t judge her harshly. It just makes me uncomfortable and it feels like Dany should have thought about it and seen the problems in the situation.

Cynical Classicist
Guest
Cynical Classicist

I agree its better to portray LGBT+ characters across the moral spectrum, to show that they are people.

Cynical Classicist
Guest
Cynical Classicist

There is some debate over whether Stannis is asexual or not, regarding his relationship with Mel. Aerys I was probably asexual, considering he showed no interest in females and there aren’t any hints he was gay. The Blackfish… might be asexual, we don’t hear any hints he’s interested in anyone sexually. Some people say he was in love with his brothers’ wife, but there is so little evidence for that. And on gay characters there’s also Daeron, son of Aegon V (it seems quite a few third sons are gay in ASOIAF) and Jeremy Norridge. The show apparently does Varys… Read more »

Ivana
Member
Ivana

I see Stannis as aromantic rather than asexual.

Cynical Classicist
Guest
Cynical Classicist

That would make sense. Stannis isn’t into romantic relationships and looks down on the sort of rampant sex his elder brother had. Its as if he wants to show himself as the well-behaved brother, in aspects like how his beard is trimmed in a manner unlike Robert’s.

Ivana
Member
Ivana

I mean, book Stannis is not a horndog completely led by his dick that the show makes him into in his relationship with Melisandre. Sex is not one of his primary motivations. But the books still portray him as attracted to Mel – Davos noticed the body language of how Stannis reacted to Mel as opposed to how he reacted to Selyse, and while Davos is not always right about how he sees Mel and Stannis’ relationship and often has biased and skewed views, I think we’re supposed to see his observations as correct in this case. And while Mel… Read more »

blacken
Member
blacken

Indeed, I wouldn’t class Stannis as asexual. From Melisandre’s POV in ADwD “With Stannis gone, her bed saw little use.”

Also saying that Dany is bisexual is a bit of a stretch given that Dany uses her handmaids for sexual release only, I suppose you could say bisexual and heteroromantic.

The Dragon Demands
Guest
The Dragon Demands

We never confirmed if Nymeria Sand is bisexual; probably, but “abed with the Fowler twins” is sort of a vague line.

blacken
Member
blacken

Or actually just gay seeing as she hasn’t had any pairings with men.

Rr
Guest
Rr

If I’m not mistaken show!Loras was supposed to be a combination of Loras, Willas, and Garlan since they wanted show!Loras to be the heir to Highgarden and thus Garlan and Willas were cut. Yet despite show!Loras being a combo of 3 characters and having SO much content and characterization to work with, his only characterization was that he was gay. Which, YIKES. That’s inexcuseable.

LadySeaworth
Member
LadySeaworth

One thing GRRM is really good at doing is writing characters whose sexual orientation is incidental rather than all they are. Loras may be gay, but he’s also a bit of a jerk, cares deeply for his family (especially Margaery), is willing to admit that he’s not the best (I think at one point he admits Garlan is a better fighter than him), and is generally a complicated human being. Beneath Oberyn’s facade is a man who’s still caught deep in grief and anger, and who wants nothing more than to see his family avenged so their souls can be… Read more »

Claire
Guest
Claire

I agree with a lot – actually, essentially everything – of what you’re saying about the way the show handles LGBT characters, but I also disagree a lot with what you’re saying about the books. My main gripe is about ASOIAF!Loras. His relationship with Renly isn’t nearly as there as you make it seem in your post – we never see them interact one on one together, instead we mainly see them through Cat’s eyes. While the clues that they’re in love are very much there, the focus in those scenes is not on them and their relationship at all.… Read more »

blacken
Member
blacken

Loras and Renly aren’t great representation, they’re minor characters in a large, sprawling story who are never POV characters or emotionally involved with any POV characters, with the exception of Brienne, hence the focus. With regard to Dany, I mean the first time Irri pleasures her it kind of happens pretty fast, and was apparently done on Irri’s own initiative, but thereafter Dany actively rejects it. From ASoS: “Dany stepped away from her. “No. Irri, you do not need to do that. What happened that night, when you woke . . . you’re no bed slave, I freed you, remember?”… Read more »

Claire
Guest
Claire

Definitely agree with you on Loras and Renly, but I think you’re wrong on the Irri and Daenerys front. Yes, Irri intiates sex with Daenerys on the ship when she wakes up and realises that Daenerys is masturbating in ASOS but it becomes clear that she sees it as her duty to her queen: “I am handmaid to the Mother of Dragons,” the girl said. “It is great honor to please my khaleesi.” Which is what she says directly in response to Dany rejecting her offer to pleasure. And later, in Mereen, after she has exiled Jorah for treason and… Read more »

Bo
Member

Back when that trailer leaked showing Yara sucking face with a sex worker, a lot of fans reacted really abrasively to those of us who were angry about it. “Why does it matter?” ” Why do you have a problem with this?” “Isn’t more representation a good thing?” The end result is EXACTLY why we were angry. We knew they only made Yara lesbian because to perpetuate the horrible stereotype that “women warriors just want to be men and are lesbians.” Then they also used her and that stereotype to further toxic masculinity and further show their complete disrespect for… Read more »

The Dragon Demands
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The Dragon Demands

I was mad at the time just because I’m mad about “change” in general, but the finished product we actually got was decent enough that I came around to thinking it worked rather well (as opposed to making say, Catelyn gay, Yara isn’t in any long-term relationships with men so it’s not like this ruined a major subplot from the novels or anything).

The Dragon Demands
Guest
The Dragon Demands

I made a long video about this in my youtube channel, and rather than retype everything, the short version: 1 – Seasons 1-4 of Game of Thrones were decent enough at LGBT representation relative to the source material. They even actually showed Renly and Loras a bit more prominently. On a societal level at least, they depicted homosexuals well enough that it isn’t one of my driving complaints about the TV series (though I do think D&D should be fired). 2 – ….yes, they didn’t write Loras very well from Season 3 onwards, but I didn’t consider it a disaster.… Read more »

The Dragon Demands
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The Dragon Demands

Okay, second post: this is the hour long video I made on Yara’s sexuality, and how I went from hating it as a “change from the books and thus automatically bad!” to actually sort of a good idea for her cultural setting: I talk about “should works of fiction set in ancient Rome or similar societies depict seemingly voluntary sex with what are ultimately slave prostitutes” in a separate video on “Rape, in the books” (I conclude that other ironborn would do this in the Free Cities, and I think D&D are idiots, but it’s close enough to the society/world… Read more »

The Dragon Demands
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The Dragon Demands

Third post: while I’m at it, this is a video I made on “Gender & Sexuality in Game of Thrones”, based on an article I wrote about it for Game of Thrones Wiki (and explaining why the Wiki doesn’t have Category tags for articles on “queer” characters like Loras or Renly):

WanderingUndine
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WanderingUndine

I agree about Loras. I agree that making Yara ‘lesbian’ in order to queerbait her with Dany was poorly and had gross fandom fallout. Like the time I saw someone say “It makes sense that she’s lesbian, since she’s basically been a boy all her life.” Um, NO. Doing male-coded things doesn’t make her any less female than she identifies as, and neither does her sexual orientation! And I agree that framimg the rape as ‘good’ makes it far more problematic. When Book!Tyrion similarly rapes and menaces a sex slave, it’s repulsive and awful — but it’s *intended* to be.… Read more »

blacken
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blacken

Amazing breakdown! Literally nothing to add.

WanderingUndine
Guest
WanderingUndine

The linked list of “Badass Lesbian and Bisexual Women” describes Yara’s love interest as “All women. Everywhere.” Um, what? Having sex with one prostitute does not mean someone is attracted to *everyone* of that gender.

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[…] a far cry from being perfect. It’s no secret that media representation for LGBT+ folks often ends in a disaster because they’re still, by and large, written by non-LGBT+ […]

Timothy McLean
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Timothy McLean

Asha has been on the receiving end of a million “cunts”…
(snicker)

But seriously now. Game of Thrones is a nasty piece of work in many, many ways, but there is one thing which makes me grateful for it. (Well, two, if you count how it got me interested in the books.) Comparing GoT with ASoIaF provides a perfect example of how to do all sorts of things well and poorly, from representation (LGBTQ and otherwise) to grim plotlines to responding to criticism.

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[…] was justifiably criticised by the queer community for taking a non-stereotypical gay couple and making them a caricature. I think it is a case of […]

Analysis

Waiting for Katoh: Romancing the Iron Bull in Dragon Age

Angela D. Mitchell

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on

When it comes to romance and Dragon Age, The Iron Bull's in a league of his own.

Inquisitor: It’s a little unnerving that you have this down to a system.
The Iron Bull: Systems are comfortable. And my goal is for you to get… very comfortable.

Spoiler Warning for Dragon Age: Inquisition

NOTE—CONTENT AND POTENTIAL TRIGGER WARNING: This post includes some respectful yet candid, open and potentially NSFW discussion of The Iron Bull’s DAI romance (and its BDSM elements). Please proceed with caution and full awareness.

Once upon a time, I’d been dreaming of romancing a prince in a videogame. Then I played Dragon Age: Inquisition and stumbled across The Iron Bull.

He was everything I hadn’t wanted. And he was perfect: funny, brilliant, sensual, and caring. I fell flat and (thinking I was on my way to an adorable Beauty and the Beast-style romance for Bull and my little blonde Inquisitor) instantly decided that he would be mine.

Pretty soon I began to realize, however, that this romance was not going to be as easy as I’d expected. Despite his purported availability and enthusiasm, Bull didn’t show much interest in my Inquisitor’s charms at all, and had instead spent dozens of hours in-game smilingly ignoring her efforts. Months, in game-time. Months. My poor Inquisitor was not a happy camper. (Please note that I’ll be generally referring to the Inquisitor as “she” throughout this piece since I’m discussing my own playthrough, but of course as Bull is pansexual, the Inky can be any gender preference the player chooses.)

At first, I hadn’t found Bull attractive—he was intimidating, this big, hulking guy who just wasn’t my type at all. But then, as I described, I started to realize what a fantastic and complex character he was, and soon I was gazing at Bull with glowy pink hearts in my eyes, just like pretty much everyone else in Thedas:

Cole: The Iron Bull, a woman in the last village wanted you to pick her up and take her clothes off.
Iron Bull: Most people do.
Cole: In her mind, you were very big.
Iron Bull: Well, that’s flattering.

But meanwhile, I wasn’t getting anywhere, and my poor Inquisitor’s flirts weren’t seeming to have any effect at all. Then, although I was trying to avoid spoilers, I saw a comment that eventually Bull would show up in the Inquisitor’s quarters when his approval was high enough. So (hilariously) in between flirts, my poor Inquisitor started running back up to her room to see if Bull would show up there. (Just in case you thought this couldn’t get anymore embarrassing…)

But my Inky kept flirting, determined to win Bull’s heart. And then he finally showed up in my Inquisitor’s quarters, and everything changed. And I basically fell out of my chair at the options he presented, because they were a hell of a lot more eyebrow-raising than “So, hey, I got you a rose.”

This was not at all the fairytale I thought I had been pursuing… but it was fantastic writing from Bull’s writer (fantasy novelist Patrick Weekes). And beautifully character-appropriate.

“Last Chance”

First off, the reality: when it comes to romance, Bull’s in a league of his own. I mean, let’s be honest—a few frilly words with Solas and Cullen and you’re making out on the rooftops.

But as I mentioned, Bull’s different. There’s no reaction at all. (I always picture him reacting with faint amusement, like, “Nice try, Boss…”) Until, one day, finally, there’s a reaction. The day arrives, when you’ve made so many overtures that Bull himself couldn’t fail to acknowledge the signals. Victory is yours, on the night Bull shows up in your quarters out of the blue, and he finally makes his move.

But he’s got a proposition for you. And it’s a doozy. He’s not just propositioning you for sex, he’s asking you to enter a world that may scare or intimidate you just a little.

And just like that, BDSM entered the world of mainstream gaming.

Bull’s got a proposition for you. And it’s a doozy.

Terms and Conditions

When Bull finally takes action, it’s fascinating, because from a character and story perspective, he’s risking everything on a very specific moment. If Dragon Age: Inquisition were an actual novel (and not the playable novel I believe it actually is), I’d be fascinated to know exactly what caused Bull to go, “Okay. It’s time.” Was there a specific flirtatious moment? Or was there an outside cause? It would be interesting, for instance, to headcanon a message from the Qun, or even a proactive decision when he recognizes interest in the Inquisitor from a potential rival.

Either way, Bull shows up, and makes his play. If he succeeds, everything’s changed. If he fails, it would be interesting to wonder what his backup strategy might be… if he’s Qun-loyal, does he then coldly seek out Dorian, for instance? Or is he content to continue to prove himself simply as a captain and companion?

But… on the other hand, this is Bull we’re talking about. He knows human nature like nobody else (humans, elves, dwarves, everyone, etc.). He reads signals and micro-signals. He understands how people are wired. Then he acts. And it’s interesting that when he does, he’s continuing his previous “playing it cool” approach—he’s still holding himself back a bit, a little removed and detached.

Most of all, he’s still playing games. Only this time, he wants you to play, too.

I mean, let’s face it, Bull could’ve taken my Inquisitor up on her flirtations, offered her a jolly night in the sack, and he’d have probably been pretty safe doing so. She would’ve been perfectly happy with this, too, on some level—we already know, from hearsay, that such nights with Bull are perfectly satisfying and that he certainly appears to make sure everyone goes home happy. But as with most situations for Bull, he’s thought this through, and he’s determined that there’s only one specific outcome that works.

And he’s quite aware that it’s not everyone’s cup of tea. Perhaps no other character’s romance is as careful about consent as Bull’s, and your character can say no to Bull’s flirtation with zero hard feelings on either side. Spy or not, secret agenda or not, he’s genial and kind in response:

Iron Bull: …I’m not sure you know what you’re asking.  Not sure if you’re ready for it. 

Inquisitor (refusing): You’re right. Flirting was fun, but it probably wouldn’t work out.

Iron Bull: Exactly. So don’t worry about it. Let’s just keep killing things. We’re really good at that. For what it’s worth, though… you would’ve been walking funny the next day. Anyway, nice talking with you. Have a good one.

I mean, Bull handles rejection like a champ here (and elsewhere, as our Inquisitor can turn him down here, break it off the morning after, or when their romance is discovered, among other occasions). I really like that he’s not kidding about there being zero repercussions or hard feelings.

An Object of Obsession

Meanwhile, let’s get back to motives for a moment. If Bull’s motive was simply to seduce the Inquisitor, he could’ve done this months ago (in-universe), couldn’t he? And if his goal was just sex, again, wasn’t this already within reach for him fairly quickly?

Instead, he’s still playing chess, still being strategic to shore up his position in the long game. From a character standpoint, my impression is that he’s willing to risk losing because he’s confident enough in his own skills, his own abilities at reading and understanding human nature, to do so.

My take here, in fact, is that he’s willing to gamble because if he’s right in his assessment here (whether Qun-loyal or Tal-Vashoth, depending on the outcome of “The Demands of the Qun“), Bull won’t just have the Inquisitor as a casual bedmate, he’ll be providing them with a relationship whose demands satisfy a need previously unrecognized within the Inquisitor herself, and in ways only he can satisfactorily meet. In short, he’s positioning himself fairly coldly to be the object of a sexual obsession. And he’ll gain a potential (and high-ranking) chesspiece in his play to both control or affect the Inquisition as well as for his potential return to the Qun as a power player despite his past sins (at least, as an option).

Which is where the BDSM aspect of Bull’s romantic proposition to the Inquisitor comes into the picture.

It shouldn’t be surprising that, in the bedroom, as elsewhere, Bull’s secretly all about power dynamics and exploiting those for his own benefit.

Bull is asking for that absolute trust, that willingness to be completely vulnerable… after he himself has already openly told us, at that point, numerous times, why he himself should not be trusted.

Waiting for Katoh

It’d be one thing for Bull to make his move as an uncomplicated typical romantic overture. Basically, the kind of scenario where he’d say, “Hey gorgeous, Bull here. If you’re agreeable, let’s finally hook up!”

It’s quite another for him to show up in your quarters unannounced (a great and subtle way to start the scenario with the Inquisitor off-balance), to say, “So… I’ve gotten the messages. I get what you want. And it’s tempting. So let me make you an offer in return: What if I promise to give you everything you want, plus that escape you crave, but only on my terms, and at the sacrifice of full control, in a scenario that demands your absolute trust? While, in addition, possibly changing your entire outlook on who you thought you were?”

Um… No big deal, right? The only problem is, Bull is asking for that absolute trust, that willingness to be completely vulnerable… after he himself has already openly told us, at that point, numerous times, why he himself should not be trusted. If we’re paying attention. So it’s a pretty fascinating and fraught situation from a story standpoint, and one that provides the potential for a surprising amount of tension and drama. And if he’s working an agenda, and we don’t gain his loyalty (in “Demands of the Qun”) the outcome of the story that begins here is truly heartbreaking at the conclusion of “Trespasser.” (People, save the Chargers. Just please, always save the Chargers.)

Meanwhile, no matter what Bull’s agenda here, as I mentioned, Bull makes his move with care, respect, and delicacy. He ensures consent—not once, not twice, but three separate times. The consent aspect is important and even somewhat poignant if you think about it, because Bull himself comes from a culture in which sexual consent, at least in the big-picture sense, is nonexistent. In life under the Qun and elements like the Qunari breeding programs, what or who you want personally doesn’t matter. The Qun is all about the collective good. Individuals either assimilate, do what they’re told (or who they’re told), or they die.

All of this is why, for me, Bull’s emphasis on consent here is a vital and very telling character note. (It’s also why criticisms of that consent scenario drive me batty, but more on that farther down.)

The issue of consent is doubly important in Bull’s scenario from a larger standpoint, I’d further argue, precisely because lack of consent has been such a troubling yet consistent aspect of other BDSM representations in popular entertainment, most notably, in stuff like 50 Shades of Grey. (Full disclosure: I haven’t read it, but in researching this, I became aware of the criticisms of the romance and its issues with consent and abuse.) The emphasis Dragon Age: Inquisition places on an empowered and consenting relationship is therefore, to me, culturally important and responsibly done.

We’re Definitely Not in Hyrule Anymore…

In a big-picture sense, seriously, all of this is pretty complex and surprising stuff for a videogame. Because it puts the player/protagonist into a situation in which they might very well react in any number of ways—with discomfort or outright disgust, with amusement or interest, or with enthusiasm and delighted approval, et cetera. (What’s interesting is that the Bioware team was evidently initially very concerned at the reactions from players and was subsequently pleasantly surprised when Bull’s romance was a non-issue for the vast majority.)

Keep in mind that, strategically (if it occurs before “Demands of the Qun”), Bull has everything to lose here in terms of the political coinage he’s acquired with the Inquisitor over his time with the Inquisition. Yet he’s willing to risk it, because he’s gambling as always on his proven ability to read other people. He’s basically saying, “Okay, I’ll give you what you want… but only on my terms… if you agree.” While pretty much already assuming he knows the choice they’ll make.

Right away, when he shows up in the Inquisitor’s chambers, Bull presents her with a series of choices. The short answer? He’s still making sure we’re chasing him (and his approval). It’s all so smart, and so much fun from a writing standpoint. Sure, he’s there, he’s willing… but there’s also that palpable sense that Bull’s also pretty uninvested in the outcome (at least by all appearances). He’s acknowledging the flirtations, but he’s also halfway out the door. It’s calm and deliberate—a far cry from Solas’s, Cass’s, or Blackwall’s passionate declarations of desire or love even against their better instincts, simply because they cannot help themselves. Instead, with Bull, it’s slightly cold, almost amused.

But either way, he makes his offer, and we can respond. And once the Inquisitor consents the third time (in an agreement that’s either more innocent and romantic or that’s more worldly and experienced), we end on a real smile from Bull, an embrace… and then a quick fade to black.

(Honestly, maybe that fade to black was perhaps a little too quick. I’m just sayin’…)

Power Plays

But we don’t jump to the next morning, as we might expect. Intriguingly, instead, we’re shown a moment when The Iron Bull is leaving the Inquisitor’s chambers, and he’s confronted by Leliana, who is stopping by to ask the Inquisitor for input on an Inquisition matter.

Bull’s response there is to tell her no, point-blank. He sends Leliana away—Leliana, our leader, spymaster, and warrior-nun. The person nobody says no to. And he does so with a shrug. It’s intriguing and textbook Bull: “Let her rest,” he says, coolly meeting the eyes of the most terrifying person in all of Skyhold. He’s at ease. He’s also amused, relaxed, and confident. And Leliana, visibly thoughtful about this unexpected development, departs without further comment. (And I love that she never, ever says a word about what she knows here. Nobody keeps secrets like our Nightingale.)

In an obvious sense, Bull’s just done some oddly positive things here. He’s—it’s certainly implied—provided the Inquisitor with the escape and release she needed. He’s also fended off potential interruptions and made sure she gets some much-needed rest.

And yet.

He’s also just made a major power move. He just told Leliana, in no uncertain terms, that he’s now a factor in the Inquisitor’s life. It can be taken as selfish (“I’m someone you need to take note of”) or unselfish (“I’m here to make sure you give her the space she needs”). Or a combination of the two.

For me, the headcanon read on this scene depends on what the outcome was to “The Demands of the Qun.” If we saved the Chargers, Bull has no more need to apply ulterior motives, and he’s simply doing what he’s best at—caregiving and protecting. If we chose to sacrifice the Chargers, however, Bull’s motives immediately get a lot murkier. (So much so that it’s going to have to be a whole separate blog post in the future.)

Meanwhile, my Inky got her night with Bull. And I’m assuming it was fabulous and delightful and probably earth-shattering on a number of levels. But she certainly had some questions the morning after (and so did I).

The best part is? He answers them.

Bull’s actually very approachable the next morning, if we choose to go ask him to talk with us about what happened the night before.

Warnings and Watchwords

It’s interesting that Bull’s seduction has a decidedly cool element, a visible detachment, yet he’s so much warmer and kinder the morning after. This could be an expected result of the intimacy of their previous night together. Or it may also simply indicate that he’s more confident and not feeling the need to hold himself at arms’ length anymore.

Regardless, Bull’s actually very approachable the next morning, if we choose to go ask him to talk with us about what happened the night before. He’s genial, friendly, and open—surprisingly so. (My favorite part of this early conversation is when we first try to talk to him about the previous night, Bull assumes we just want some therapeutic advice on physical comfort in the aftermath, responding cheerfully that, “I can show you some stretches…”.)

Then he realizes what the Inquisitor wants to talk about, they sit down together in her quarters, and just… talk. In an extended, smart, literate, and mature dialogue sequence about what they did, how the Inquisitor feels about it, what each wants, what he’s offering, the rules of engagement, what the boundaries are, and where those boundaries end. He also addresses, bluntly, the psychology behind his choices.

And here’s where it gets fascinating. He reveals to you at this point, fairly candidly, how he thinks you’re wired and what he thinks you need. He admits that he’s using his Ben-Hassrath training to intuit this stuff, but also that he’s using those powers for good:

Inquisitor: I’m still not sure how to react to the things we did.

Iron Bull: If you’re limping, I can show you a few stretches that’ll take care of it.

Inquisitor: That’s not what I meant.

Iron Bull (pausing): You don’t say. Found a part of yourself you didn’t know was there before…

The Inquisitor doesn’t answer.

Iron Bull (more gently): Ben-Hassrath training, remember? Grew up learning to manipulate people. When it’s a hostile target, you give them what they want. But when it’s someone you care about, you give them what they need.

Inquisitor: So if I agree, how does this… work?

Iron Bull: Outside this room, nothing changes. You’re the Inquisitor. You’re the Boss. I will never hurt you without your permission. You will always be safe. If you are ever uncomfortable, if you ever want me to stop, you say “katoh” and it’s over. No questions asked.

Inquisitor (one of several minor varying options): It’s a little unnerving that you have this down to a system.

Iron Bull: Systems are comfortable. And my goal is for you to get… very comfortable.

My favorite part of this exchange is the way Bull is employing his usual talent for lying with the truth and hiding in plain sight.

Just as he told us he was a spy the moment we met, here he points out that his Ben-Hassrath training is enabling him to manipulate the Inquisitor, and that he is blatantly doing so. But he’s doing so (or so he implies) for good, not ill. For our benefit. And if we saved the Chargers in Bull’s personal loyalty quest (turning him into a true rebel by necessity—a Tal-Vashoth), this is true. If we sacrificed the Chargers and he remains loyal to the Qun, things here are, as mentioned, actually pretty dark. But more on that later.

Either way, what Bull doesn’t do, at any point, is compromise. Instead, Bull lays out the scenario for the two of you going forward. The crux of his approach: To put it somewhat demurely, Bull gets to drive. The Inquisitor will have to agree. He will not compromise, as noted in a further conversation and partial negotiation they may have later on (all of these dialogues were written with his usual eloquence and subtlety by Patrick Weekes, who wrote Bull, as well as Solas and Cole, in his Dragon Age: Inquisition appearance).

What You Need

The Inquisitor can then return to Bull for a third conversation, and this was my favorite of the three, because the writing allows the Inquisitor a variety of character options–they can ask a dozen questions, or they can commit right away. They can show confidence, or admit to vulnerability or insecurity for example, asking Bull if the BDSM is an aspect of any of his other relationships, for instance, with the serving girls or others Bull has bedded in the Inquisition. Bull’s answer there is simple: nope. Because that’s not what the serving girls needed. He’s wired to give people what he perceives they need, so each scenario for him is different and unique.

Bull further elaborates below (note that he starts out with a clear statement that he’s committed to you, absolutely, as of this moment—that there’s nobody else, until or unless you end things):

Iron Bull (speaking about his previous dalliances): I mean, I used to. Long as we’re doing this, you’ve got my complete attention.

Inquisitor: You told me that this is what I needed. What did you mean by that?

Iron Bull: You’re the Inquisitor. You didn’t ask for the job, but you’ve taken on the responsibility. You’ve got thousands of lives riding on your decisions. You bear that weight all day. You need a place where you can be safe, knowing someone else is in charge for a bit. 

Inquisitor: So if this is a conscious decision for you, could you do something else if I wanted you to?

Iron Bull: No. This is who we are. It’d be disrespectful to what you need to treat you any other way. If it doesn’t work for you, though, I understand. No hard feelings.

Inquisitor: What about what you need?

Iron Bull: Hey, I’m good. I am better than good. You don’t trouble yourself on that front. Old Iron Bull is just fine.

It’s interesting to me that Bull’s highest allegiance here is to what the Inquisitor needs. It’s the thing he’s most drawn to as a nurturer, spy or no spy, that ability to fulfill that, and it’s something he won’t compromise on. He even calls it out specifically, that “It would be disrespectful to what you need to treat you any other way.” He won’t do otherwise… even if it’s in his best interests politically. And, typical for Bull, he utterly discounts what he himself might need out of the relationship. (I find this weirdly moving, and would certainly of course headcanon that the Inquisitor is generous and attentive regardless of this statement—he deserves it.)

Either way, these conversations while certainly a bit edgy for the mainstream, really shouldn’t be. Speaking as something of a bumbling semi-human toon myself (when it comes to, like, non-pixellated romances), I found them intelligent, insightful, and respectful, and had no issues with Bull’s romantic narrative in any way. Besides, in service to the story, ultimately, to me it’s powerful, it’s emotional, and best of all, it’s also responsibly and affectionately set forth. It’s true to who these characters have been painted to be.

I definitely appreciate that there are (to me, at least) no issues regarding consent, physical or emotional danger, or of power abuse, unlike popular and often irresponsible representations of BDSM across much of entertainment media (cough, 50 Shades of Grey). Ultimately, as someone unfamiliar with that culture, my own reaction to the portrayal of Bull’s romance as a depiction of BDSM, after reading a fair amount of discussion (both pro and con), is that it has been handled here with real responsibility, as well as with sensitivity and a clear understanding of both the characters, the lifestyle, and of human nature by Weekes and the rest of the Dragon Age creative team. I think in that way that the romance storyline is a pretty significant milestone for inclusivity, and should be celebrated as such.

Not everyone will be into what Bull proposes, nor will they take him up on it once he sets the stage for what he wants to provide. And in those cases it’s then, luckily, quite easy to say “Nope,” and move on.

Responsible Representation

However, not everyone agrees with me. Beyond his romance with Dorian (which as I’ve noted, I don’t think was remotely abusive and will address in more detail in the future), there’s been some heated discussion about Bull and his relationship with the Inquisitor. So it was interesting to wade into that minefield. Some felt there were consent issues (which I cannot understand at all, given what we’re provided here), some had issues with his assumption that the Inquisitor is submissive, while still others felt that Bull’s “take it or leave it” approach to the relationship was somehow triggering.

Again, I don’t get any of these critiques or find them viable.

First off, Bull’s assumption that the Inquisitor is seeking a submissive role in the bedroom is an easy thing to address within the story—you can either headcanon that he’s right, or hey, you turn him down. It’s not difficult. Me, I thought it was a believable character note for a number of reasons. It spotlighted Bull’s insights into human nature in an unexpected way (and keep in mind, Bull is shown to be scarily accurate about reading people in this way); it provided a scenario in which our protagonist is actually challenged about their own perceptions of what they want in the bedroom (and how often does that happen in a game?); and it explored Bull’s caregiver tendencies in ways that were complex and even potentially disquieting… and yet lovely, too.

Because Bull’s immediately all in. If we agree, he’s 100% monogamous and focused only on us, on giving the Inquisitor whatever is needed. And this caregiver aspect isn’t just subtext to me, but actual text. The entire relationship is, in my own view, presented as genuinely healing, and so many people miss that about Bull’s romance. Yes, there are power dynamics at work here, of course, but there’s also something gentle about what Bull’s offering the Inquisitor—it’s not ever presented as harsh or scary; it’s not the cliche of whips and chains (not that there’s anything wrong with that, if that’s what floats your boat), but is instead rather a safe haven. There’s a genuine element of fantasy and play to it, and we see both aspects, the gentleness and the fantasy element, in the scene where Bull and the Inquisitor are interrupted later on.

And while it’s true that Bull may in fact eventually betray you (if you betrayed him), that happens on the battlefield. Never in the bedroom. No matter what you chose when it came to his loyalty mission, by all appearances he keeps his promise and the Inquisitor’s bedroom remains a safe and separate space.

Regardless. Not everyone will be into what Bull proposes, nor will they take him up on it once he sets the stage for what he wants to provide. And in those cases it’s then, luckily, quite easy to say, “Nope” and move on.

Arguing the Dynamics

I think this is a key point many people don’t get. It’s not abuse for Bull to request a specific kind of relationship while giving us the choice to accept or refuse. It would be abuse if we had no choice, or if he changed those dynamics without warning. But here, he’s being absolutely forthcoming about what will take place if we agree, and we therefore have the power to respond with ‘yes’ or ‘no.’ It’s really that simple.
Does Bull insist on a specific sexual preference or dynamic to his relationship going forward? Yes. Yes, he does. And he’s clear about that.
I have no problem with this. I’d further argue that Bull has every right to set forth what he wants from a sexual relationship, and so does anyone else. Our Inquisitors can at that point either agree to his terms and proceed, or turn him down. Again, it’s not rocket science. And there are zero actual problems in how he presents the choice (again, Bull asks for consent and checks in with the Inquisitor on her feelings multiple times, both here and as the romance progresses). The Inquisitor is further given full agency over her relationship and her decisions at every single conversational moment with Bull that follows. She can reject him at any time.
I mean, what more could Bioware have done?
Some people have argued, however, that because the Inquisitor can’t change the terms of the relationship, that this is somehow abusive. Nope. Those who like what Bull’s proposing can take him up on it. Those who want something different, or that he’s not willing to give? You’re simply out of luck. That’s not how people work. Or sex. Or relationships. Everyone has preferences, and difference is the spice of life.
Anyway.

To Speak or Not to Speak

Meanwhile, to me, Bull’s pretty careful, thoughtful and thorough when discussing exactly what their relationship will be like if the Inquisitor proceeds. He provides the Qunari word “katoh” as the ‘watchword’ (or, ahem, safe word) in case the Inquisitor is uncomfortable at any point, then leaves it up to her whether she wants to continue. Bull may have an agenda, but he is also incredibly sincere on the issue of agency in every way.

And speaking of “katoh,” it’s probably my one area of minor complaint in the romance. Eventually, the ‘watchword’ becomes a kind of badge of honor for the Inquisitor—the fact that she never says it, it’s implied in a lighthearted way, is because she’s adventurous, not afraid of her own limits, and because the two of them are having a terrific time together.

However, the idea that not saying it is somehow a good thing doesn’t work for me. To me, the whole point of “katoh” (especially in the case of a character who is new to these scenarios, I’d imagine) should be that expressing her boundaries or areas of discomfort is not just allowable but is actually healthy for both her as well as for Bull as the relationship begins. (I mean, I’d think for most people, there might be, hilariously, “katohs” all over the place to start, as they got comfortable with each other, or maybe I’m just projecting here.) But from a story standpoint, I can see why the fact that she doesn’t say it (surprising Bull, to say the least) also has an emotional component and says something about her trust in him.

The Offer Beneath the Offer

Regardless, Bull’s setting forth the ground rules. And at this moment, if she says that one word (“katoh”), it’s over, no hard feelings. And please note—potential double agenda or no, Bull means this—I’ve played through all the different variations, and when Bull promises “no strings,” he puts his money where his mouth is. He’s even genial and supportive if the Inquisitor moves on after their night together to romance other companions:

Inquisitor: Katoh.

Iron Bull: Understood. I’ll see you later, Boss. (Alternatively: Huh. You got it, Boss.)

But if the Inquisitor questions Bull on his point of view, his reasons, and his goals for the relationship, it’s a fascinating conversation, and one of my favorites with romanced companions across the entire Dragon Age landscape.

This is because Bull’s logic for why he wants the relationship to go this way is pretty irresistible, and it’s seriously the world’s oddest combination of creepy and sweet ever.

Because… what he’s offering your Inquisitor is even more seductive than sex; he’s offering escape. As well as open permission to be vulnerable in ways the Inquisitor is simply not allowed to be in daily life. And, quite possibly, it may be the only true escape they’ve found since becoming Inquisitor. He’s saying, “Come with me, play with me; I’ll take care of you and you can take your mind away from this apocalyptic time, place, and responsibility you never asked for.

I mean, if you’d been catapulted to a position of leadership you’d never wanted or imagined, were surrounded by strangers (many of whom feared, hated or were initially trying to imprison you), had left or lost everyone you’d loved, were suddenly leading a world political power, were managing a magical mark that was also slowly trying to kill you, and the world was falling to hell around you in a rain of demons from the skies…?

Yeah, I’d think that offer would be pretty damned tempting.

“I Cannot Move My Legs”

So the romance progresses, we can ask Bull for kisses outside the tavern (complete with a casual smack on the Inky’s rear that is slyly funny and well animated), and all is right with Thedas. Everyone’s having a great time, apparently.

Then, not long after Bull and the Inquisitor embark on their escapades, there’s a scene where Cullen, Cass, and Josie happen upon them unexpectedly. It is seriously the funniest scene I’ve ever seen in a game, and I laugh out loud every time I see it. But there’s also more to it than you might expect at second glance—it’s actually a lovely and surprising interlude—funnier than you’d anticipate, but also potentially tender (and really sad, as well, depending on your character’s choices). Either way, it’s a revealing moment in the romance if we look closer.

We open on Bull and the Inquisitor, right after another encounter. Bull’s naked and still relaxed in the bed, the Inquisitor dressing in a matter-of-fact, “we’ve been together awhile now” kind of way. And this is where we catch a glimpse of that gentle hidden aspect to the relationship. Bull’s voice is soft:

Iron Bull: There we go. No Inquisition. No war. Nothing outside this room. Just you, and me. (Pause) So. What’d you want to talk about?

Then Cullen inadvertently walks in. And he realizes what he’s walking in on and his body literally tries to march him backward out the door on its own. It’s fantastic. Then he settles for covering his eyes against the sight of a naked Bull as if he’s a vampire faced with sunlight.

Then Josie comes in. And she freezes in place, mesmerized by the glory that is, evidently, Bull’s junk (amusingly and thankfully hidden by the Inky and various other elements as the scene progresses).

Josie’s “I just had three shots of Novocaine” face is seriously the best thing ever (“I cannot move my legs…”)

Then comes Cassandra as the capper on the scene, and her patented disgusted noise here is probably the best example of that classic Cass-reaction in the entire game. Because she’s not really disgusted, just exasperated. Like she’s going, “Inquisitor. Bull. The world is falling down and NOW you decide to do this? I am disappointed.” And she’s of course raising one perfect eyebrow in judgment at the same time.

Anyway, it’s one of the funniest things you’ll ever see in a video game, as all three are mortified by the situation and yet cannot look away. Josie’s “I just had three shots of Novocaine” face is seriously the best thing ever (“I cannot move my legs…”), while Cullen’s little snicker adds a much-needed dash of humor to our often stoic Commander’s personality. (Seriously, when he giggled at this, I went, “Okay, fine, Hot Templar Man, I’ll romance you” and added him to my mental list behind Solas.). Cassandra (perhaps funniest of all) is simply irritated at being faced with the entire situation.

She doesn’t give a crap about sex or safe words or orgasms. She’s just wondering why you’re wasting your time when there is WORK to be done. And given that Cass is DAI’s die-hard closet romantic (not to mention there’s the matter of her occasional flirtations with Bull in their banters), it’s kind of weirdly adorable. I almost wonder if there isn’t an element of her protesting a bit too much, but there’s no hint of that, so I think ultimately it’s simply her allegiance to the Inquisition that’s causing her extreme disapproval here. (At least outwardly.)

A Dignified Exit

But it’s not all just fun and games. We can commit to Bull here, proud of our relationship with him and absolutely fine with people knowing. Yet, meanwhile, for the unexpectedly sadder ending—if we express embarrassment at being discovered with Bull, it’s much more bittersweet, as Bull sacrifices his dignity without a qualm—but only to a point:

Cass: I apologize for interrupting what I assume was a momentary diversion.

Cullen (snickers): Nothing wrong with having a bit of fun.

Josie: Who wouldn’t be a little curious? 

Inquisitor: Responds either affirmatively (“Bull and I are together”) or ends things, with “This was just a fling” (“Iron Bull and I were just blowing off some steam”).

Iron Bull (if option 2 is taken): Yeah, the Boss wanted to ride the Bull. Nothing for anyone to get excited about. 

Inquisitor: Right.

Josie (flustered): I’ll just…

Iron Bull (after a pause): Hey, Josephine… you busy later?

Josie actually does pause momentarily (and personally, I hope she looked him up), then they all leave.

Iron Bull: Ah, well. Fun while it lasted.

Inquisitor (being a total jerkface): We don’t have to stop.

Iron Bull: Yeah. We do. I was trying to relieve your stress. Not add to it. If you’re ashamed of this, I’m doing a crappy job.

Inquisitor: Bull…

Iron Bull: Don’t worry about it, Boss. I’ll see you later.

I love this moment (well, I hate what the Inquisitor’s done, but I really like Bull’s reaction). I love that Bull will actually turn down the Inquisitor here. So much of Bull’s persona is about his support and willingness to give, but at the same time, there needs to be a limit. And the quiet way he walks away in this moment (as he should) when faced with the Inquisitor’s shame at being with him is a perfect and necessary character note. He may be a caregiver but the guy has the self esteem to expect better of those he sleeps with… and he should.

However, if we do commit to Bull, it ends very sweetly and on a much happier note:

Iron Bull: You okay Boss?

Inquisitor: You know, I believe I am. But since we have a moment… 

Iron Bull: What’s that?

Inquisitor: It’s a dragon’s tooth, split in two. So no matter how far apart life takes us, we’re always together.

Iron Bull: Not often people surprise me, kadan.

Inquisitor: Kadan?

Iron Bull (pulling her down into the bed): Kadan. My heart.

And as I’ve mentioned, I may have actually let out a cheer at this, because I headcanoned that my original Warden was in love with Sten (and vice versa) even though they both knew it was hopeless. Their only outlet, I believed, was his use of that word, his one way of expressing his hidden feelings. So, in other words, every time Sten called her “kadan,” I plotzed a little.

So this was fabulous. (And yes, yes I know that “kadan” can be used in a nonromantic context. I just can’t hear you over the la-la-la sounds I’m currently making to ignore that.)

Nobody Says I Love You…

Bull’s romance continues to evolve through the DAI story after this point, and again, I found it so refreshing that the game dared to explore the dynamics of a relationship that began with sex and evolved into something more complex. Bull and the Inquisitor are still evidently having sex all over Skyhold, including, evidently, one or two occasions on the War Table itself (Cole informs a delighted party of companions of this fact in one of his highly revealing little banter dialogues about Bull’s romance with the Inquisitor, and Blackwall’s response is especially funny: “I look forward to informing Cullen!”).

But there’s still something that hasn’t been said—those three little words that determine that there’s emotion involved here, and not just sex. And as we know, there’s no room for love and sex to occur at the same time traditionally under the Qun.

Then, however, we get a post-coital conversation between Bull and the Inquisitor about how their relationship is going (everyone’s very happy, let’s just say), and about his surprise that she’s never used the safe word he provided. The two then proceed to banter about the potential safe words of our other companions, and as always, it’s an opportunity for Bull to show how insightful he really is when it comes to reading other people. There’s a brilliant little moment when his use of a particular Orlesian phrase about Blackwall says volumes about how much he’s already figured out about the mysterious Grey Warden and his true backstory, which for most has not yet been revealed at this point in the story.

It’s interesting to note that while Bull and the Inquisitor wonder aloud about the safe words and predilections of many of their companions, a few notable omissions there include Solas (interesting, since I definitely think he’d have one at the ready—as he directly implies in an early flirt scene with a mage Inquisitor), and Dorian.

Side Note: I would have laughed so hard if Solas’s suggested safe word had been “Fade.” Come on. Admit it. It’s funny. He’d never have even made it through the door on your very first date. And it would’ve been hilarious.

I think Dorian’s omission here, meanwhile, occurs for many reasons—first, because it’s another subtle example of Bull judging others and what they need, and I think the implication is pretty clear that Bull doesn’t think a BDSM scenario would be ideal for Dorian (with his history of rejection and betrayal, I’d agree, although it’s also implied that there are elements of kink to the relationship in other ways). I also think Dorian may not be discussed because he’s an alternate-timeline choice for Bull as a romance, and his omission keeps the two stories wholly separate.

This interlude can end on a few different genuinely touching emotional notes. In one, the Inquisitor implies love and thanks Bull for being with her even if they don’t survive.

Bull interrupts this speech, however, and his broken “Katoh. Stop. I can’t… We’re coming out of this together.” is one of Prinze’s most beautiful moments in voice acting the character of Bull. What gets me is that Bull is the first one to use the word in earnest here; he’s giving us the rare glimpse of the guy who survived Seheron… and then broke.

Sex and Love Beyond the Qun

All variations on this scene end with the two falling back into bed together, but the differences in each conversation thread choice are fascinating because the scene can end in exactly the same way each time, yet in one instance it’s slightly emotional and intense (the Inquisitor fearing death and Bull comforting her), in another sweetly affecting (the Inquisitor telling Bull she loves him, and him returning the sentiment after responding teasingly), or even playful (as the Inquisitor ends on a lighter tone, telling him this was fun). And it’s all lovely and moving… as long as he’s Tal-Vashoth.

Because, if he’s not, once again, this is all empty. An act. Depending on whether we saved the Chargers, or doomed them.

If we saved the Chargers, then I think part of the reason Bull genuinely allows himself to love you is because he’s in a freefall of relief at Krem and the Chargers’ survival (his family), secret relief at being free of the Qun, while also still navigating his total fear and despair of what he’s supposed to do now. All combined with the constant fear that he will go “savage” and become Tal-Vashoth.

And of course, add in a healthy amount of guilt because he now must wonder how many Tal-Vashoth he hunted and killed for the Qunari were simply good men like him trying to break free. So to me, it’s natural that Bull is more open to the romance and actually allows himself the possibility for love and even commitment. That is, if you saved the Chargers. And saved the part of himself that had allowed himself to feel and love.

As I’ve written before here, Bull is innately generous, a giver at heart. The Qun, once upon a time, warped that impulse into something darker and more controlling. Then came the Inquisition, and his own “last chance.” Sure, Bull was playing a delicate game at first, and balancing both potential outcomes. But at some point, somewhere along the way, it all became real. He returned to his core self, abandoning power and politics, turning to something he’d never been allowed to imagine existed—real intimacy, commitment and trust.

It’s ironic in the end, that while Bull offered our Inquisitor the possibility of escape both emotionally, psychologically, and sensually, the person who achieved the actual escape in the end was Bull himself. And we’re the ones who gave it to him. By saving his self-built family, we saved Bull and (unknowingly) ourselves. And that’s the opposite of cold; it’s something that goes beyond sex, power, or obsession and is simply about love and trust on truly absolute and unshakable levels.

And that’s always going to be greater and more powerful than any demands of the Qun.


Images Courtesy of BioWare

This article is a reprint (with minor modification and expansion) of an article originally published by Angela D. Mitchell on DumpedDrunkandDalish.com.

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Analysis

Game of Thrones 1×07 Rewatch: You Play the Game or the Arse

Kylie

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Hello and welcome to The Wars to Come, the Game of Thrones rewatch project by… You know how it goes.

Today, Kylie, Julia, Danzie, and Griffin take on the seventh episode of Season 1. But first, a recap for those who haven’t had a chance to watch it yet.

Episode Recap

This week in “You Win or You Die,” the stakes are certainly life or death, particularly for Daenerys Targaryen. After failing to convince her husband to help her take back the Iron Throne for her family, she sets out to the market, for what she thinks is a day of innocent shopping. Yet not all is at it seems. For one, Jorah creeps off and gets handed a royal pardon for spying on her. For another, a wine merchant outright tries to murder her with poison! Jorah thwarts the attempts (pardon in pocket), and the entire ordeal incites Khal Drogo, who declares his desire for vengeance against Robert Baratheon. He will sail to Westeros after all!

Jon has his drama to deal with. For starters, Uncle Benjen’s horse returns to The Wall…sans Benjen. Then at the graduation ceremony for Night’s Watch School, Jon is told that he’s going to be a steward, not a ranger. He’s always wanted to be a ranger, and as a steward he certainly won’t be in a position to help his uncle!

He’s just about ready to quit when Sam points out to him that clearly the reason he was assigned as not just any steward, but Commander Mormont’s steward specifically, is that he’s getting groomed for leadership. Jon sees the logic in it, and the two friends take their vows together at a heart tree north of the wall.

We briefly visit Winterfell, where Theon tries to demand sex from Osha, before Luwin puts a stop to it. A guest or a prisoner? Luwin points at that Theon of all people should know the distinction may not be huge.

We make an equally brief visit to the camp of the Lannister army, where Tywin Lannister berates Jaime for not finishing the job during his fight with Ned by killing him. Their House was slighted by Cat kidnapping Tyrion, so clearly it is only right that Jaime take a force and capture Riverrun. Boy, feudal politics are as charming as ever!

Nowhere is that more apparent, however, than in King’s Landing. Ned finally confronts Cersei about the illegitimacy of her children, and urges her to flee with them before Robert returns from his hunting trip, as he plans to inform the King immediately. However, it turns out the opportunity will never arise; Robert drank too much wine and in an attempt to drunkenly hunt a boar, got himself lethally gored. Ned is able to take down his final will, which names him as “Lord Protector of the Realm” until Joffrey comes of age. Despite Robert saying “Joffrey” explicitly, Ned simply writes “my rightful heir.” Robert also changes his tune about wanting to kill Dany, but when Ned tells Varys to put a stop to it, he’s informed that it’s already in motion.

Elsewhere, Littlefinger tells two of his sex workers about that time he dueled Brandon Stark because he loved Cat.

While Robert slowly dies, Renly seeks out Ned, telling him that he must act now and take Cersei and her children into custody before she can act. When Ned speaks of naming Stannis as Robert’s successor, Renly says that he should be named instead, despite being the youngest. Ned dismisses this plan.

He also dismisses Littlefinger’s suggestion to make peace with the Lannisters, bow before King Joffrey, and merely sit on the incest secret unless they need to expose it. Instead, he asks Littlefinger to secure the gold cloaks for him, so that he’ll be able to properly confront Cersei when the time comes.

That’s sooner rather than later; Robert dies, and almost immediately Cersei puts Joffrey on the throne, where he calls upon the Small Council to pledge their fealty. Renly’s fled the city, but Ned heads to the throne room, where he presents Robert’s will. Cersei tears it up, and when it’s clear that she will not yield, Ned calls on the gold cloaks to arrest her. Instead, they murder all the Stark House guards, and Littlefinger puts a dagger to Ned’s throat.

Initial, quick reaction

Kylie: I feel like this episode was a bit stronger than last week’s. I mean there is the one scene of just sheer horribleness, but otherwise it felt somehow more focused, maybe. I suspect a lot of that was due to the King’s Landing plotline just utterly dominating the episode. Sure, we had a few scenes with Jon and Dany, Tywin’s introduction, and even a delightful moment with Theon in Winterfell. But so much stayed with the main action, which was quite enough to drive things forward well. I may just be complimenting the pacing here, but I at least had more of a positive reaction, I think.

Griffin: I don’t even remember what happened from when I watched it. There was Robert dying, Jason Momoa’s awesome scene, and they cut the apologizing assassin. I was bummed about that since I liked how stupid it was from when I read it, and I wanted to see them do it since it is so stupid. It’s just so ridiculous but for some reason it felt like it fit within the world of the book, which defies all logic. I vaguely remember something about Jon Snow, mostly because he apparently wasn’t in the previous two or three episodes? I mean, it says a lot that I didn’t remember he wasn’t there at all. Was Sansa in this one? Arya? This show is bafflingly forgettable sometimes.

Julia: I agree that it was a much stronger episode than the previous one or two. I remember this being the first time in my life possibly, that I noticed nerdy things like “blocking” and “shots.” The extreme close ups in the wine-assassin scene, and the odd blocking and pacing of the Ned-Cersei scene were an education.

Also, did you know that Ned is into honor?


Danzie: Aside from that scene, I actually really love this episode. Baratheons being well represented is my kryptonite. See D&D? I’m not that hard to impress.

I have a couple nitpicks but, yeah, this was an overall winner in my books.

Highlights/lowlights:

Griffin: I guess my highlight is probably Jason Momoa developing the amount of screen presence he looks like he should have. Pretty much every other scene that wasn’t killing Viserys was just “big dude is big dude” for him. I’ve been wondering if that was just a writing issue, or if he just didn’t have the physicality to really make the role work. Turns out they just needed to actually write a scene where he does a thing for him to, well, do the thing. Seriously, even with the “golden crown” it felt kinda…deliberate? Like, Drogo had planned this to happen, and was sorta casual about it.

As for the low-point, it has to be the Sexposition. Jesus christ that scene was atrocious. Littlefinger had to literally yell his origin story over the ever-loudening moans of women fucking on his explicit orders. Seriously, dude? I mean—he’s not even getting off on it. He’s just yelling. For no reason. I couldn’t even pay attention to whatever nonsense he was spouting because the staging was so unbelievably awkward and random. I cannot imagine being the sound mixer when editing that scene; it’s like a visual representation of why their job is necessary and integral. Did they get paid more for that one? God, I hope so.

Kylie: I definitely second this low-point. It’s just…in terms of quality it’s not even that far removed from the low-points of Seasons 6 and 7. The only saving grace is that it’s one contained scene with a relatively shorter story on the exposition scale. I’m worried it’s going to overtake anything else to do with this episode for this rewatch, that’s how bad it was.

I had a personal highlight, and that was watching Emilia Clark move her face in the market scene. I don’t exactly think it was the episode’s best moment, but it was so refreshing that I felt invigorated.

It doesn’t even seem like she’s in pain!

I think objectively my highlight is the throne room sequence. I know it’s obvious, but it was well-executed. You really get a feel for the farce of all courtly politics, and Barry’s sad little face when Cersei ripped up the letter was a highlight unto itself. It was this kind of tension that made me fall in love with the world and really want to engage, and I think this was a case where it was blocked and written well.

Julia: Yeah, the sexposition scene was the worst. The Worst. But in the interest of variety I will pick the scene where Ned confronts Cersei. Just, like, this is such an effective scene in the book, but here it’s just so odd. I mean, the pacing is bizarrely off, and the shot-reverse-shot looks unnatural. It’s not especially bad, really. Just, comparing it to the source material makes me sad.

Highlight? I really liked Cersei’s costume in the throne room. It was so interesting and different, and maybe even what a queen would wear.

Danzie: Sexposition was not only bad, it was a scary look into the future for this show. Jesus, what a bummer in an otherwise good episode. It’s an example of how D&D don’t trust their audience to pay attention without an ample supply of nudity. I think it’s easily the lowlight of the entire first season for me.

I have so many highlights though! Sam and Pyp truth bombing Jon’s whiny ass was pretty satisfying. Luwin (who I forgot was such an amazing cinnamon roll prior to this rewatch project) shutting down Theon’s creepy behavior with an epic burn was also pretty amazing. Renly being, like, a CHARACTER and not a gayreotype made me happy too. I stanned the heck out of my Baratheon trash-baby basically being the only one smart enough to get the hell out of King’s Landing before all this went down. See you next season with your awesome beard and crown, bro. <3

In the end though, I have two winners. The first is Robert’s defining moment as a character, where, moments from death, he finally decides to grow up and let go of his fear and anger towards the Targs. I know this is more a compliment to the source material, but Mark Addy nailed the hell out of this scene. We need to start an Emmy-snubbed list.

The second is the Jaime/Tywin scene. Charles Dance was such spot-on casting for Tywin. You start to learn here why the Lannister kids are so fucked up. Even Jaime who is his “favourite” has unrealistic expectations put on him. You’re damned if you do and damned if you don’t with a dad like Tywin. Also, this was the scene that made me decide to get a replica Jaime sword. I’ll include a pic. 😀

Quality of writing

Julia: Not too bad? The sexposition stands out as horrible, but other than that, most of the scenes were too straightforwardly adapted to have the opportunity to be horrible.

But that scene though. What I suspect happened is that the director just saw this stupid Bond villain monologue, and thought, “oh no, this is just two pages of him explaining his evil plan, and the virginity pledge he took! How do I make this interesting?” And since the director seems as incompetent as the writers this week, he landed on male-gaze girl-on-girl in the background?

Reasonable.

Danzie: Haha, with the exception of the darkest timeline scene that I’m sure I can (and will) rip into, I’m pretty happy with the writing. Turns out that when you just stick to adapting the books things turn out pretty well? Who knew.

Kylie: We’re at least definitively still in the world of conversations. Spy vs. Spy was getting close to nonversation territory, but here people still talk like people. Well…Westerosi people. I’d say the quality was overall very decent. Now play with her arse.

Griffin: I’m pretty sure I hated the characters I was supposed to hate. But I’m not sure I like or empathize with the characters I’m supposed to like. The biggest problem remains that they aged up the children, at least to me. This makes it really difficult to believe Jon’s plotline in any way, unless he’s the absolute dumbest person around. It makes sense he’d be groomed for command, but not that he wouldn’t understand that and needs it spelled out.

Aside from that, in terms of writing, I guess it was fine. There’s nothing really that stands out as great writing, but they have an entire cast of amazing actors who can really elevate the material. Like Jason Momoa’s scenery-chewing moment. So really, the writing is probably mediocre, but they just have really good actors. But they shouldn’t need to constantly lean on that; that’s not sustainable.

Our 8th grade book report (on themes)

Griffin: What was the theme of this episode? I guess it was “honor” and “survival.” And how those two don’t mix. That’s just sorta the whole point of Ned’s story though, if I recall correctly.

Kylie: I’m trying to specify it more to connect Dany and Jon and Ned here. I mean the theme you hit isn’t exactly wrong, but more just overarching for the season. Then again we’ve talked before about how maybe episodic themes are more incidental than anything else.

Julia: I think maybe you can connect Dany and the King’s Landing stuff with the idea that a desire for the throne makes you do horrible things? Like, even Ned slightly changed the wording of Robert’s last wishes. Might be a stretch.

Danzie: The theme I got was “what makes a good leader?” Is it military prowess? Well clearly not, because Robert was an amazing fighter but a terrible king. Is it bloodlines? Not when you look at half the crazy Targaryens. Is it a lawful king like Stannis or a diplomatic and well loved person like Renly? Is it conquerors like Aegon I as Dany suggests?

These are all archetypes and ideas that will come into play during the war of five kings and beyond… or y’know, they would’ve, but the show decided to become terrible.

Kylie: I think to that theme, Danzie, it’s hard to super connect Jon’s scenes to that. We get that they’re grooming him for leadership, but Jon’s struggle this episode is more just his inability to think anything through, apparently. Or to think. He commits to the Night’s Watch, but it’s less to do with leadership and more to do with his bros talking him into it. What makes a good leader? Apparently not the smarts.

The issue with “doing bad things for the throne” is that Ned doesn’t want the throne in any way, and changing Robert’s wording was less horrible than it was protecting a dying man from something that would really upset him, while still trying to honor the laws of the land. I’m worried I’m making a special pleading case for Ned with that, because it is a slightly deceitful action, that’s for sure. But even his lie was…not without honor.

Dany convinces Drogo to fight for her throne after almost getting killed, Jon pledges to the Night’s Watch even without necessarily liking his post because of future ambition maybe, and Ned tries to do the honorable thing in ensuring the proper line of succession, only to be betrayed. I think what we have are three people doing things at various levels of political power, all tied to a vague sense of duty. But it’s okay if it’s a bit scattered.

Also it feels completely random that this is the episode we learned Littlefinger’s backstory. “I’m not going to fight them, I’m going to fuck them” was his thesis. Is that linked to anything here?

Julia: Well, that’s what Ned should have done, right? Play a game where he can control Joff and Cersei because he knows their secret? And Dany literally fucked her way to getting Drogo’s army. #femaleempowerment.

Kylie: So the show validates Littlefinger’s worldview. Neato.

Cracks in the plaster (the bullshit to come)

Kylie: Putting aside the elephant’s arse in the room, I think one of the bigger cracks that starts here was actually something relatively well-executed: Tywin’s introduction. I love Dance in the role, and I think what he was saying gave texture to what we’ve seen of his three children.

That said, it’s kind of baldly the beginning of their more obvious Lannister favorism, and the Tough but Fair Grandpappy Tywin we’re going to get much more of next season. Maybe this belongs more as an adaptational grievance, but the scene in and of itself was fine. It’s knowing where it leads that makes it more difficult on a viewing now.

Julia: It’s also the beginning of the crack (well, maybe it began with the Spy vs. Spy) that I call “These people have no idea what the fuck they’re talking about.” Like, last week we learned that the feudal order was dumb, right. And that honor specifically was dumb? Well, now we have Badass, tough but fair Tywin telling us why we have to go to war because of the feudal order, and because another family insulted a member of his. You know what that’s called? A matter of honor! So, either we’re all dunderheads who can’t appreciate how their Tywin is not, in fact, being portrayed as a reasonable actor and generally sympathetically, but is instead a biting critique of all the things that come out of his mouth. Or, D&D have no idea what any of these ideas, or their implications, actually are.

Because as it is, it does seem like favoritism. Protecting the feudal order is dumb, unless you’re the Lannisters, they can’t look weak to the other houses. The line of succession is dumb, unless you’re the Lannisters. We wish them well in their attempt to build a dynasty that lasts 1000 years. Honor is dumb, unless you insult a Lannister, then it makes perfect sense for them to kill all your peasants.

At this point, it’s still just a crack, and a more balanced interpretation is possible if you look at just this one scene. But knowing how they’re going to set up Tywin as this ideal player of the game, it’s a crack.

Also, this is the start of Tywin as this earthy, pragmatic, thrifty type, with simple tastes, so unlike those decadent Dornish. Like, maybe Tywin would butcher his own venison, but where are the rubies on the hilt of his hunting knife? And where the fuck is his cloth-of-gold cape?

Danzie: The Lannister favoritism does start to spin out of control later on, but if you look at the Tywin/Jaime scene framed only by what we’ve seen so far in the show’s run up to this point, it’s fine. I think it gets across Tywin’s character quickly and well for what it is. I also think that one person’s perception of honor isn’t the always the same as someone else’s. Ned’s is humble. Tywin’s is prideful.

That being said, the points you make are more than valid. D&D don’t actually understand or care about exploring the themes they Ctrl C + Ctrl V from the books. They’re just copying homework and handing it into the teacher without understanding the assignment. I’d love to live in a world where I can give them credit, but the jig has long been up.

It’s at this point that I’d like to link to Kylie’s wonderful article.

In the end, we’re all a little crazy for even trying to make sense of a show where the creators are pretty clearly not even trying (even when it’s accidentally good by virtue of the strong source material), but on we march.

Kylie: I love that it was the empowered ladies of Horn Hill that pushed me to writing that one.

All I can add is that at least we’re still in the stage of viewing where we can sit back and enjoy Charles Dance’s Tywin for what it is. And yeah, the dude is a huge fucking hypocrite. But the showrunners shouldn’t be; not if we’re supposed to uncritically accept “honor gets you killed.”

Um. So. Should we talk about the arse crack in the plaster, or does it speak for itself?


Danzie: Damnit, Kylie. XD

Remember adaptation?

Julia: They’re still doing pretty well here. They still feel the need to add “honor” to everyone’s lines whenever they’re talking to or about Ned, but there were only two original scenes that I can think of. The first was the scene with Tywin and Jaime, which worked because of Charles Dance and Nikolaj Coster-Waldau, but was really kind of nothing—like, they even started killing all the peasants last week, so it’s not like we needed that exposition, and then there was that scene… Other than that, it was mostly a dramatic reading of A Game of Thrones.

Omg, I forgot. Sam really misses girls, you guys. Not his mother and sisters, mind you, who love him for who he is and all that junk, but girls he can ogle without their consent. What great character changes.

“I miss girls. Not even talking to them. I never talked to them. Just looking at them, hearing them giggle. Don’t you miss girls?”

Danzie: Yeah, those lines felt a little weird coming out of Sam’s mouth. Like, I’m sure even book-Sam misses girls to a degree, but I think that a rich boy from the South would be far more concerned with, y’know, SURVIVING his time in The Watch. Even stewards face brutally long days of work in incredibly harsh conditions. It’s not like, an all boys Christian summer camp where you spend half your time sitting around being bored and then go kayaking. He’s settling in remarkably well considering one of his superiors ordered another recruit to beat the shit out of him a couple episode back. But not having tits & ass to look at would suck, am I right young male demographic?

Speaking of the Night’s Watch, this is indeed a big example of where aging up the characters runs into problems. You can’t take the actions of a fifteen-year-old and apply it to someone in their early 20’s/late teens without the context changing massively. A young teenager throwing a fit over not getting what they want is pretty understandable, but when you have a very adult actor depicting these emotions? It gets a lot harder to be sympathetic because a grown-ass man is suddenly throwing a hissy fit on screen over something he really should have known was a possibility before he signed up.

Robb goes on to suffer in the same way. Breaking a political marriage promise by jumping into bed with someone else makes sense (and you could even argue is an almost inevitable action) for someone that young. But when you’re like, twenty-two, the expectation is that you should really know better given what’s at stake.

Griffin: Jon really comes across as the biggest idiot around. According to Kylie that’s not going to change much?

Kylie: I think D&D read “You know nothing, Jon Snow” at face-value.

Danzie: “Jon really comes across as the biggest idiot around… that’s not going to change much?”

Poor, sweet Griffin…

Well, all 2.5 books in Griffin’s case

Julia: At least they’re getting Drogo pretty well. If only there were more people to see that…

Carol Watch: who is Cersei this week?

Kylie: A very, very turned-off Cersei? Wait, no, weaponizing her sexuality is like, Cersei’s MO with men, which is why she has so much self-hatred, too. She sees it as her only use in society and viable card to play, and it’s rather bizarre that they cut her making a pass at Ned.

Then again, they also cut Ned saying, “For a start, I do not kill children.” That was rather crucial to his character. So I’m suspecting D&D didn’t super understand that scene.

Otherwise Cersei was very Cersei in the throne room. Barry’s face when she ripped up Robert’s letter was perfect.

Julia: Yeah, turned-off Cersei is a good way to phrase it. I was watching that scene thinking how Carol she was, how she makes incest seem so reasonable and what any good person would support, but then I realized how she was just quoting Cersei and that made me question everything. I guess it just goes to show how things that seem subtle and unimportant—a couple of omitted lines and actions, a tone—can be so huge.

The throne room scene was perfect, though.


Danzie: Agreed. Mostly book-Cersei, with a dash of Carol.

Griffin: There is no Carol in HR! (I still don’t know the difference, but Carol sounds nice?)

Exposition Imposition: good or clunky?

Danzie: Next question, please.

Kylie: “I do believe my lord’s in love.” / “For many years. Most of my life, really. Play with her arse. And she loved me too.”

I’m sorry; I can’t move past it! I know there were decent things in there, like Dany navigating Essosi trade, and the Night’s Watch vows, but oh my god that overshadows just everything. EVERYTHING.

Julia: They did a much better job in their other scene, but that wasn’t what you would call elegant either. “You will take half our forces to Catelyn Stark’s girlhood home.”

Griffin: I don’t want to talk about the sexposition. Frankly, it’s hard to tell where the character moments end and where the exposition moments begin on this show in general, and not in a good way. I didn’t feel like I was being spoon fed too much, but it’s also hard to keep track of motivations in individual scenes sometimes.

Julia: I’m also not too happy about how Jorah is always explaining Dothraki things to Dany. This is a problem in the books too, as I recall, but you have three Dothraki around her with speaking roles, even apart from Drogo. Use them for god’s sake.

How was the pacing?

Julia: The pacing of the episode was fine, I think. I don’t remember noticing it, and that’s usually a good sign. But am I crazy about the pacing of the Ned-Cersei scene being odd? Please, reassure me/encourage me to seek help.

Kylie: I forgot it opening the episode. That seemed an odd place for it. Then you add in the shot-reverse-shot soap opera framing, and yeah… She kind of jumped to “you win or you die” after a couple back and forths; the heavy hitting moments of that exchange were cut anyway, and then it was done.

Danzie: Yeah, more time really should have been given to the “you win or your die” scene in general. It’s kinda like… one of, if not the penultimate moment of the entire first book. It felt a bit too glossed over considering its importance.

Though, apparently Lena Heady was pregnant during the filming for this scene, which kinda explains the weird shots/editing.

Other than that, I think the pacing was pretty strong.

Julia: I mean, pregnancy tends to last for longer than the time it takes to film one scene. But I guess that’s why she’s been standing with those giant sleeves in front of her all season.

Griffin: It was better than last week. So, “fine”, I guess?

Let’s talk about sex, baby

Danzie: Okay, we’ve done a lot of complaining, but let’s really break this down:

  1. The quality of sex is determined by loudness. By this logic, one should always be screaming directly into one’s partner’s face. Anything less and they’ll just assume you aren’t into them.
  2. Lesbian sex must always include one of the women acting as “the man”.
  3. Make sure your boss is in the room telling you his tragic backstory.
  4. Haha, wait. There’s a “one-eyed Joe” at the Night’s Watch who works the stables?
  5. 70’s porno lighting.
  6. ????
  7. Profit.

Also, while listening to Littlefinger’s friendzoned speech it suddenly dawned on me why certain… sub-sections of the internet champion him. Not that that’s show-Littlefinger exclusive, I just… don’t know how I didn’t realize until now.

Aww, poor guy!

Julia: I like how Ros is mostly just concerned with the cleanliness of her hands throughout the scene. I think I love her.

Griffin: Danzie lays it out better than I could, but it’s just…no. And also somehow incredibly boring and unengaging. It’s like they all sat around a table and thought up the single least sexy way to sex ever. And then did it. REALLY LOUDLY.

Kylie: Well, the point was that it was merely performative, so to even characterize it as lesbian sex is already not particularly accurate… I really don’t know why I’m trying.

Julia: I believe I’m the only one here who’s not female attracted (correct me if I’m wrong) so I don’t think me reiterating how unsexy that scene was will help any. But god, if that scene was meant to titillate, it failed miserably. And can we talk about Littlefinger’s virginity pledge?

Kylie: If there’s one thing I gathered from Littlefinger in the books, it’s that he’s totally sexually reserved because of his pure love. /s

I think “hideously unsexy” is a good way to phrase it, but can I just complain about something really stupid with it for a second? Littlefinger had Ros and the other sex worker practicing on each other so they could practice their moaning that they do with customers. Ros sounded “ridiculous” or something, so he had them switch. Other sex worker moaned while Ros got her off. Then Littlefinger liked that performance, so he said “you’re both working tonight.” But wasn’t Ros’s awkward moaning the problem in the first place? So why is she cleared for work? Doesn’t she still need to practice moaning to his satisfaction?

Why am I analyzing this aspect?

Julia: No, no. I think you just found the plothole that makes the entire season fall apart.

There was also full frontal male nudity this episode. And I think we can all agree that seeing the floppy fish of a man about to be dragged to death is exactly the same as the “play with her ass scene” and the female nudity therein, so all accusations of sexism are invalid.

In memoriam…Robert Baratheon & Stark House guards

Julia: Oh Bobby B. Murdered by a pig.

Kylie: And now everyone gets to taste the boar that got him. I kind of always felt it was weird that Robert’s hunting trip and death scene were split into two episodes. Renly running in like, “come quick!” always felt so random to me.

Julia: Remember a few episodes ago when he was afraid of blood, and now he’s covered in Robert’s and doesn’t seem fussed at all?

Danzie: I think it all would have been a bit too rushed if it was all in one episode. At least Robert got a better death than Stannis. Not that I’m in any way still salty over that…

Griffin: I really don’t understand why they waited to kill the Stark guards in that scene. That whole conversation was a complete waste of everyone’s time if their end goal was to make sure Ned didn’t have the chance to fuck everything up. Shouldn’t Cersei know by now that his commitment to honor is immutable? Shouldn’t most of the higher echelon in King’s Landing?

Kylie: I guess it’s part of highlighting courtly farse? That the whole thing is so performative, and Cersei was trying to give Ned a chance at that. This is, of course, something in the books too. Maybe this is feeble, but sometimes we do need certain dramatic moments as part of storytelling. I don’t think it necessarily violated Cersei’s character in any way. Maybe Carol’s though…

But that’s a good place to leave it. What did everyone else think? Were the big moments here as impactful this time through? Was the arse crack in the plaster as distracting as we’re making it out to be? Let us know in the comments below, and we continue to wish you good fortune in The Wars to Come.


Images courtesy of HBO

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Analysis

Reflections on ‘A Single Pale Rose’

David

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Spoilers for “A Single Pale Rose” ahead!

It’s been about two months since Steven Universe upended the apple cart of fan expectations again. The show has a habit of getting people into a comfortable rhythm and then completely changing the way the viewer sees the show. Revealing that Rose Quartz was Pink Diamond in the episode “A Single Pale Rose” was probably the the biggest bombshell the show has ever dropped. For days afterward, the fandom was left scrambling. Now that some of the dust has settled (and it’s been confirmed that Steven Universe will be back July 2nd) I think it’s time we took a look at some different opinions on the episode. I’ve collected some opinions from our contributors. Some are positive, others less so.


Kylie:

I’d say overall I had a bit of a mixed reaction to the reveal itself. Theory-crafting in the Steven Universe (SU) fandom is a little bit tiring for me, and nothing I engaged too deeply in. I certainly heard the Rose=Pink Diamond (PD) theory before, but I dismissed it off-hand because “Rose had a quartz gem” (and going with a twist like a Herkimer diamond seemed cheap to me). Obviously the disguised appearance makes a lot of sense; there was, however, a part of me that felt a little intentionally lied to, and a la Westworld “twists”.

That’s not to say this was my entire reaction to “A Single Pale Rose” itself, because the damn implications of the reveal was what really interested me, and I adore the way they were presented through the Pearl-ception. Steven’s throw-away line about “deeply repressed war memories” really hammers on it—this deception has had its impact, particularly on our anxiety-coded bird-mom suffering from PTSD. To that, the episode held no punches, though it ungrounded us further with the surreal, dreamlike quality of it all. It felt truly unsettling, and thinking back on what we know of Pink Diamond only increases the unease.

It makes me genuinely excited for where the show is going to go, particularly Steven reconciling this since he is the very literal embodiment of Rose’s…let’s say “redemption” arc, to simplify. He’s the one that carries this burden and still needs to work to fix her mistakes (at least, in his mind).


Griffin:

I kind of always assumed that Rose was Pink Diamond. I didn’t expect her to have gone all Emperor Palpatine and play both sides of a war that never needed to happen and have it explode in her face, which I loved, but at the same time…this fits. Ever since “Mr. Greg” (and a little bit with “Sworn to the Sword”) I’ve had a distinct feeling that Rose’s relationship with Pearl was really, really unhealthy. That, and Bismuth creating a sword that poofs, not shatters—honestly this wasn’t surprising to me. Then there was the trial with the Diamonds and y’know, it was very well seeded. All of it was there. That doesn’t make it any less as a story beat towards the narrative and the relationships between the Crystal Gems, as it is extremely important to explore the fallout of that revelation, but it’s like, y’know, what else could this have been?

That being said, I do love the idea that Steven is the actually the kind of person that Rose convinced everyone she was, but truly wasn’t. He’s this idealized beacon of hope, optimism, freedom, tolerance, acceptance, and love because he was raised by his dad and the Crystal Gems…who were following a false example that proved to be more powerful than the truth ever would or could be. So, in a round-about sort of way, Rose did become that inspirational, aspirational figure she saw herself as and presented herself as. Just, only after she died and created an entirely new life. And only after it wasn’t her. It’s kinda neat to look back and see all of the Homeworld Gems calling Steven Rose Quartz when we now know for sure that it’s more true than it ever was with the “actual” Rose Quartz.

It’s messed up, but Steven Universe has never been a show that treats its characters as infallible or unrealistically idealized without that crashing down. Even Garnet’s future-sight is nowhere near as useful as it seemingly should be. Sure, she runs around trying to jump herself to the world-line with the most absurd levels of causality and probability possible because she’s bored, but isn’t that super irresponsible? For, you know, the fate of the planet?


Bo:

For so long, I resisted even considering that Rose and Pink Diamond were the same person. There was always something more to Rose and especially Pink Diamond’s shattering, but I didn’t like this particular theory. I think it was around the time of “Jungle Moon” that I finally bought in and realized it was happening. And you know, I kind of feel bad for ever doubting that the Crewniverse could make it work. I always worried that Rose=PD would invalidate Rose Quartz somehow, or strip the Rebellion of its shades of gray. Instead, the reveal made everything even more complicated than before.

We’ll see where it goes from here (and I kind of said a lot about it already). We still need to see how SU handles the change in character dynamics, the reveals to other characters, and what Steven being Pink Diamond ultimately means to the story. I don’t really have any doubts, though, because why would I? It only took a single rewatch to understand how well seeded this reveal was and why it has inspired the fandom to levels of satisfaction I haven’t seen since season 3.

The Crewniverse nailed this.


Gretchen:

I’ll admit, Rose as Pink Diamond has been one of my favorite crack theories ever since we first saw the crumbling pink diamond insignia in “Sworn to the Sword” (2×06). I still remember when the first big meta about Rose = Pink Diamond came out. I devoured that shit. It made so much sense to me. But somewhere in the middle of S4, I started second guessing it. The more we saw Steven struggle with Rose’s legacy, the more I believed that Rose being Pink Diamond would undermine his growth. I didn’t want Rose to be vindicated, at least not fully. I wanted her to be as messy and complicated as the show had already clearly made her to be.

Looking back now, I had no reason to worry. Of course the Crewniverse wouldn’t gloss over Rose’s crimes or the position of privilege she occupied if she was, in fact, Pink Diamond. If anything, Rose and Pink Diamond being the same person has increased the complication of Steven’s current existence. He’s no longer adjacent to the struggle between Homeworld and Earth. He’s no longer a passive observer of the systems of oppression that Homeworld perpetuated. Rose, his mother, wasn’t just a rebel, she was a diamond. And that means Steven is a diamond.

While there are significant implications for literally every character on the show, I’m most impressed by the delicacy and nuance thus far. Far from out of the blue, the reveal is well-seeded and the payoff enormous. I have no qualms saying this is Steven Universe’s Red Wedding moment. It changes everything, but makes perfect sense. It makes you watch, or rewatch, differently. And I must say, as someone who never romanticized Rose/Pearl, I’m really, really glad I never invested in it. All we have now is time to unpack the implications for everybody, including Pearl, but I’m 100% convinced it will just as messy as I want it to be.

All in all, very satisfied and excited to see what comes next.


Julia:

I’m the kind of reader/viewer who tends to accept twist and plot points as they come, and not really question what could or should have been. This is mostly because I never see this kind of stuff coming. Oh, in retrospect it’s always obvious, and that’s what makes a good twist good, but successful theorycrafting has always eluded me, even the very few times that I’ve indulged in it. Like several other have said, I’ve seen this theory around for a while, but it was never differentiated in my mind from the hundreds of other in the galaxy of SU crack theories.

All that being said, I love what this reveal has already done for the characters and the way I see the world building. Steven has been struggling with his personal responsibility for his mother and her actions when he thought she was a rebel, and now she was the oppressor too? Heavy stuff. And Steven is more than insightful enough to ask all the questions about her character and motives, and all her relationships with her “friends” that the fans have been asking for the past few weeks.


Antoine:

“A Single Pale Rose” shattered me, and I’m still trying to pick up the broken shards of myself. I was absolutely devastated over what it meant for the rebellion narrative I was rooting for, but specifically for Pearl. Because this means Pearl was always her slave.

So many gems (and humans too) suffered: Lapis, Bismuth, Jasper. Then you have the unnamed gem casualties: all the other bubbled Rose Quartzes, the broken rebels rape-tortured into forced fusions, all the gems who were corrupted. The, there’s the creepy human zoo, and the Cluster. God, the Cluster. I can’t stop thinking about them all.

I know Rose and Pearl didn’t see it coming—that’s what war-flashback-Pearl inside Pearl basically reveals… But still. Devastating.

It felt like Garnet’s beautiful message: “Rose had to shatter PD so I could be together and Pearl could be free” got thrown out into the vacuum of space. Pearl was NEVER free, and Garnet didn’t even know it. No wonder Sapphire breaks apart in the preview for the future episodes (yeah I feel you, Sapphire). Remember her reaction to the forced fusion experiments? That’s on you too, Rose.

I used to be a strong believer in the Rose=PD theory, until the direction of the show took me elsewhere prior to this episode. I got used to the idea that she was like Rey: a nobody rather than secret royalty on the run. Not Leia or Sailor Moon, no matter how much I like them. I thought it was about the rebellion. But now it feels like it was less about love or freedom, and more about Rose having fun and doing what she likes and wants without thinking of the consequences. AS ALWAYS.

I always resented Rose for various reasons, but this is worse than anything else. At least now I guess I feel vindicated in that I was always right: Rose was a selfish monster.


David:

And that just leaves me. What do I think of the episode? At first, I was aghast. I had always hated the ‘Rose is Pink Diamond’ theory, whenever it cropped up. I thought it was, at best, a crack theory. At worst I thought it was lazy writing. But as I re-watched the episode with a few of my friends, my opinion on both the theory and its implementation changed. It was, and has been always about one thing:

Love.

Rose Quartz loved the earth. She thought her sisters didn’t love her, which is why she thought they would just walk away if Pink Diamond was shattered. The other diamonds so loved their ‘dead’ sister that they brought ruin down on the earth, and then damned it to a slow death. And Rose so loved Greg and Steven she gave up her life so that he could exist. She has made mistakes, but I think the true image of Rose Quartz we should keep in our heads is the one from “Lion 3: Straight to Video.” A woman who loved everything, while never really loving any one person. If the Crewniverse can keep this up, the show is in good hands.

So there you have it. Seven different takes on the same episode. It speaks well of the show that even after five years, one episode can spawn so much discussion. I personally hope they can keep this track record up so we can have more to discuss and debate and argue about in the future.


Images courtesy of Cartoon Network

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