It’s Tuesday! That means we’re here with yet another installment of The Wars to Come, our Game of Thrones rewatch seeking find where showrunners David Benioff and Dan Weiss (D&D) let things slip out of gear. Last week, we sat through a rather boring episode. This week Bryan Cogman returns as the writer for “What is Dead May Never Die,” with Kylie, Julia, Danzie, and Jana here to break it down.
We pick up right where we left off at Craster’s Keep, where Craster himself had just knocked Jon unconscious. The episode opens with Craster ordering the Night’s Watch to leave, and Joer Mormont yells at Jon to wait for him outside. Once there he scolds Jon for not following orders, but Jon tells him what he saw: something taking Craster’s baby. It becomes clear that the Lord Commander already knew about this, but the Night’s Watch can’t afford to be choosey in its allies. As they all prepare to leave, Sam says a goodbye to Gilly, and gives her a thimble from his mother that he wants her to hold for safekeeping.
Slightly further south, Bran tries to explain to Maester Luwin about his wolf dreams, where he imagines himself inside the eyes of Summer. Luwin tells him there’s nothing to make of it and that any tales about people with abilities to warg are just that—tales.
Much further south, Catelyn has arrived at King Renly’s camp, where he is holding a tourney. Brienne of Tarth bests Loras Tyrell, winning herself a place on his kingsguard, before Renly addresses Cat. She makes sure to insist on Robb’s kingship, and when it’s challenged why he didn’t come himself, she explains that her son is fighting a war while they’re playing at one. Renly shows her his 10,000 troops, though she seems skeptical that this “summer army” will do well once winter comes.
Renly has his own issue to deal with. Though he’s been enjoying his nights with Loras, there are apparently people whispering about them. Even more, Renly has married Margaery Tyrell, Loras’s sister, yet their marriage remains unconsummated. He tries to get that bit over with, though Margaery makes it clear that she understands his sexuality and relationship with Loras. She promises him that however they need to make arrangements to allow him to impregnate her, she will do it.
Over on the Iron Islands, Theon yells at Yara for her deception once they’re alone together, though she is not sorry in the slightest. Balon then arrives and tells Theon of his plans: attack the North while Robb is distracted and marching against the Lannisters. Theon tries to argue against this idea, but Balon won’t hear it. Yara tells him to make his choice whether to come with them or not, but they’re going either way. Theon writes a letter to warn Robb, but burns it, deciding instead to commit to his place with his family. He has a priest bless him with salt water.
Speaking of Lannisters, Sansa is still stuck surrounded by them in King’s Landing. She is forced to have a brunch with Cersei, Myrcella, and Tommen, where she is casually told that if Robb dies, she’ll still be expected to marry Joffrey. Shae is also unhappy with her situation, since Tyrion wants to get her a job in the kitchens washing pots. In a good solution for both women, Shae is made Sansa’s handmaiden. It’s clear to Sansa that Shae has never worked in this role before and doesn’t know what she’s doing, though the two seem to have a bit of a bond nonetheless.
Tyrion, meanwhile, is working on his political planning. He wants to figure out who is loyal to Cersei, so he tells Pycelle, Varys, and Littlefinger three different plans about where he might send Myrcella to keep her safe in the event of an attack on King’s Landing. Pycelle ends up being the one who tells of the plan to send Myrcella to Dorne, so Tyrion has him thrown in a dungeon. Varys congratulates him, though Littlefinger is mad that the plan Tyrion had told him wasn’t the one that was going to happen. Still, Tyrion has something else for Lord Baelish, which involves going and seeing Catelyn again.
Finally, on the way to The Wall, Arya has trouble sleeping. Yoren tells her that he also witnessed the murder of a family member before, and the way he was able to sleep was by reciting his brother’s killer’s name over and over as a mantra before bed. This story is cut short when their group is attacked by more Lannister soldiers, who kill both Lommy and Yoren. In the heat of the battle, Arya frees three criminals from a cage that had caught fire. The Lannister soldiers ask again for Gendry, but Arya quickly lies on the spot, saying Lommy was Gendry, since his famous helm was lying near him. It spares their lives, though we learn the Lannisters plan to march them to Harrenhal.
Initial, quick reaction
Kylie: Thinking back over everything that happened, there were a few clunkers, yet nothing particularly worse than the past couple of weeks. And somehow I turned it off with the feelings, “Wow, it’s starting to slip a lot more.” Is it because the lolz gay scene was that bad? Is it Lady Zuriff? Is it the pacing and that things are starting to feel tensionless? I honestly don’t know. I’m worrying this is a case where I’m sour on it because of adaptational choices (Tyrion the Infallible versus the books) more than a complaint about the actual quality.
Julia: Yeah, the season so far in general feels very…beige. Even the things I like, the Ironborn stuff, for instance, I don’t like that much. There was very little rise and/or fall of emotion. Even Shae only got me a little annoyed.
Jana: This episode felt a lot like a shopping list to me. A checklist, maybe? As in there were bits and pieces here and there with little to no interconnection outside of the fact that we kinda know 90% of the plot points are part of the same greater war, more or less. Most segments were perfectly alright on their own, but, like, they very much feel like several smaller episodes sewn together into a big one. That’s technically what every other episode is kind of like, too, but this is the first time I really felt it. So much so that it’s the one thing that sticks out to me. Might be a me problem, though.
Danzie: A little sleepy, but mostly benign. It’s funny, there is a kind of nostalgia in watching season two for me. It’s not that I fondly remember the episodes per se (although ACoK is my favorite book in the series, so maybe that helps), but I do fondly remember the positive feelings I had watching it back in 2012. It’s a weird kind of nostalgia.
Also, I have a feeling I’m going to be in the minority of liking the Catelyn scene at Renly’s camp. Sue me. I’m easily won over by Michelle Fairley and the Baratheon motifs everywhere.
Julia: Theon’s plotline in Pyke remains by far the best part of the season. And by best I mean the only part that seems to mean something thus far. There’s family drama, and I love it. My favorite moment was after Theon’s baptism when he looks over at Balon and is all, “Do you love me yet, Daddy?”
Also honorable mention for the conversation with Bran and Lewin where they talk about magic. I forgot how much I love this character and how his love for Bran shone through. Weird, but I’m glad he died when he did and not like poor Osha.
On the other end I think I’ll go with the entire sequence of Tyrion’s Cunning Plan™ to root out a spy by trading Myrcella like a baseball card, topped off with a conversation with Varys where he praises Tyrion as being the best schemer ever in a way that we have no choice but to take it at face value. I don’t know, Saint Tyrion is bugging me more than ever. Especially since he apparently didn’t let his girlfriend leave their room for god knows how long.
Jana: That scene was so much better when we didn’t know that Show!Varys is being perfectly genuine here. Nevertheless, my lowlight has to be our arrival at Sexual Liberation Capital aka The Reach. Yes, Margaery, explain to the gay how and why to make babies with you. Invite your brother along; fun for the whole family.
Also, “And Margaery’s a virgin?” Dude. Dude. What are you, a subreddit?
I’m gonna go and be boring and list the dinner scene and subsequent scene with Shae and Sansa as my highlight. Is this the first tense Cogman dinner? The children are adorable, Sansa is spot on, and Cersei daring her to say something out of line was weirdly amusing. I also thought Shae’s first day at work would be a lot more on the Sansa being a bitch side, but like. No. Not only was Sansa right in being frustrated with someone presumably being paid to do a job having no idea how to do her job, they also managed to convey pretty well that any and all lashing out she does is due to the horribly fucked up situation she’s in. Or at least that’s what Sophie Turner’s acting told me. My true highlight is probably Sophie Turner’s acting.
Danzie: Not gonna lie, the highlight of the entire season for me is Renly’s crown/armor. It looks gorgeous and fits Book!Renly’s style perfectly. I want a tiny version of it for my dog Renly.
Speaking less superficially, I agree with both Jana and Julia. I sort of wonder if I liked Theon’s scenes because his chapters in aCoK were, in my opinion, GRRM’s best work in the entire series. Is it mostly copy and pasting? Yeah, but it’s damn good copy and pasting. They aren’t “fixing” what isn’t broken from the source material. Alfie Allen sells Theon’s daddy issues so, so well.
I also enjoyed the emotional subtlety of Sansa’s scene with Shae. I’m glad it immediately followed the dinner scene, because I think otherwise it wouldn’t have worked. The projection of the abuse she’s facing was very real… but it’s still ever-empathetic Sansa, so the absolute worst abuse she can sling is milquetoast highborn elitism. I miss Sansa.
Lowlight: I liked the first of the two scenes at Renly’s camp, but you really are left wondering why the Margaery/Renly/Loras stuff even existed. It would make sense if they wanted to expand Renly’s character and show the challenges of being in the closet while trying to run a campaign that is really only afloat on popular appearance… but he dies next episode, so what is the payoff? It’s investing money into a company that you know is going out of business.
Marg and Renly’s marriage consummation was left purposefully ambiguous in the books, but I guess it’s important that we know Margaery isn’t lying to Joffrey when she says the marriage was never verified? Because… that matters?
I dunno, I’m trying to make sense of it, but really I think they just wanted to be the edgy show that wasn’t afraid to go there with gay sex… except they totally were because they had to cap off the fully clothed makeout scene with boobs for fear of alienating their core demographic.
Kylie: I think knowing what’s coming in terms of Loras’s scripting makes it all the worse, too. So much of those scenes banked on the notion that it’s funny for gay people to like, exist in a feudal order, and ha-ha Renly is screwing up his nose in disgust! Because straights are never forced into sexual relationships they find repugnant or off-putting.
And damn, yeah, he is dead next episode. Maybe time would have been better spent fully contextualizing his military position or like, platform, rather than giving him and his boyfriend a fight because the concept of lineage is escaping him.
That was my lowlight too, in case you couldn’t tell.
What’s funny about the Sansa/Shae scene is that while her frustration and panic over her situation (and confusion) read perfectly well for us, it’s also the kind of scene that gives Sansa haters fuel. “She’s just being a bitch again when Shae’s trying to be nice!” Cogman certainly isn’t responsible for fandom dialogue, and there’s a reason he’s known for awkward family dinner scenes. But what really works for us gets twisted so easily, and frankly situated in a show with intense Badass worship, it’s hard to blame people.
The Arya scenes were fine, but not amazing, and the other King’s Landing scenes were Saint Tyrion blessing us with his wisdom, so I think Iron Islands are my highlight by default. But I was having trouble super enjoying this episode, whereas it came more easily in 2×01.
Quality of writing
Danzie: It’s hard to really comment on it. It’s obviously not great, but nothing stands out as offensively bad either. However, you can see D&D starting to settle into their comfort zone of not giving a shit narratively. Scenes are more about plot points and less about tying together a bigger story. Renly can’t produce an heir, but that doesn’t go anywhere. Craster is involved with the white walkers, but nobody ever confronts him about it. Tyrion delivers major PWNage(?) to Pycelle but not much comes of this either, because they never figure out how to integrate Pycelle into the plot in a meaningful way. You can get away with it short term because you think it will eventually make sense, but hindsight is pretty unkind to these plot threads.
Julia: Maybe it’s because this was a Coggers episode but I felt that the writing within any given scene was, like, passable, but the structure of the episode as a whole was just designed to create boredom. Or lack of tension? I guess I think ol’ Bryan did the best with what he was given.
Kylie: That’s the best way of putting it, Julia. I think the beats he was made to cover weren’t the best, but lol-gayness aside, the writing was at least competent. And used a decent amount of book dialogue.
Julia: And his attempt to turn Cat’s inner monologue into dialogue only made me cringe a little bit.
Danzie: It’s funny, Julia. It might be my lady-crush on Michelle Fairley, but I think she sold those lines, and Renly keeping a cool head through it all with everyone around was a very Renly thing to do. It showed off her stanning the north, while he kept up his southern appearances.
Also, Brienne! This is her first episode, and I think her reveal was great!
Jana: Also beyond that, the writing was competent. The episodes issues, besides, you know, Renly’s tent and also Shae, were mostly structural, since basically everything in this episode was a set-up for something, and that was done competently. Let’s just enjoy a time when most setups still have pay-offs.
Our 8th grade book report (on themes)
Kylie: Hey, the episode title worked this week!
Onto themes… Lies? Secrets? This is such a general theme, I know, but I was thinking that it permeated every plotline. Jeor was “lying” or at least not being forthcoming about Craster’s true nature, Renly was lying about his Tyrell relationships, Shae lied about Lady Zuriff, Tyrion lied to everyone, and Ayra lied to the Lannister soldiers that came for them. I guess Bran and Theon kind of stick out here, since Theon just made a choice, and Bran was trying to get Luwin to take his warging seriously. But it’s the best thread I can find.
Julia: Wow, Kylie, full marks. I can tie a very tenuous thread that’s, like, expectation versus reality between Shae, Sansa, Theon, and Bran. Bran thought magic was real but Lewin tells him the story about how his own dreams there were disappointed. Theon thought he would be welcomed back into his family. Imagine how happy 1×01 Sansa would be if you told her that she would be having dinner with the Royal Family. And poor annoying Shae thought Carol’s Landing would be way more glamorous than this. I guess we can throw Jonny in there too, since his expectation of how the Night’s Watch needs to behave north of the Wall was challenged.
Danzie: It’s hard to nail down a theme, because every scene was so… not interconnected in any way? I feel like this section is only going to get harder to write as we continue down the rabbit hole.
Jana: Yeah, what Danzie said. This season will prooobably still do okay on that front, but we’re already having to split segments up between themes, that’s… Foreboding.
Cracks in the plaster (the bullshit to come)
Julia: I think this was the first time Varys spent a conversation telling Tyrion how wonderful he was, so that’s a huge milestone for the show. And Sansa and Shae are now together, so it won’t be long before all of Sansa’s scenes are about Tyrion and Shae’s relationship.
Kylie: I don’t just want to harp on Renly/Loras/Margaery, but Jesus, Margaery is anachronistic for Westeros. This may be the biggest crack in the plaster yet, since it relates to everything: mainly, how they have no fucking idea what they’re doing with women, or what Martin’s doing with the setting. People on the westeros.org forums have been speculating about Marg’s hymen since they were launched, probably (was that post 2005?), so of course let’s run with that ambiguity and make the embodiment of performative maidenhood a scheming sexpot who can remove her dress in 2.5 seconds.
Julia: I honestly thought she was in her underwear until Renly said “Nice dress, hun.” So, yeah, welcome to the show, anachronistic scantily clad Reach ladies.
Jana: Also, like, Cat is just a walking crack. In the plaster, I mean. Still with little to no agency, and even though her lines were also her observations in the books, they came off as a tad too antagonistic for someone as wise as Catelyn. Brienne is still fine so far, at least. That’s nice.
Kylie: Maye there’s a reason her observations were internal…
Julia: Oh dear. The editing in Mission Marry Off Myrcella made all the difference, didn’t it. So was omitting the part where Varys flat out tells Tyrion that he knows exactly what he’s doing, thereby destroying any effective spy catching that might be happening.
This Tyrion is just the best, you guys.
I also like how there was no reaction to the rather major revelation that Pycelle has been a Lannister loyalist, like, forever. “Since the days of the Mad King.” That’s kind of a huge deal, and in aCoK Tyrion’s thoughts made that clear. They could have had his smug smile fall for a second or something.
Jana: Varys just, genuinely stanning Tyrion here with no ambiguity and no sense of playing him at all. Hindsight is a bitch. Also, the riddle? What’s the point of the riddle when who actually is to blame for Ned’s death is just… Never elaborated upon? I mean, there isn’t even Shae in the background going “it’s the rich man!” to hammer home her characterization, so what even?
…And here I just praised them for their setups still having pay-offs. Yay.
Danzie: Varys’ dialogue (as always) was just such overwritten nothingness (designed to be a trailer one-liner they can put on merch), and so was Tyrion’s humble brag of “I don’t like riddles, golly gosh, is the short person casting a large shadow referring to me? You’re too kind Varys.” Varys was declaring his love for Tyrion so hard that you half-expected them to makeout at the end.
Also, the editing for the schemy scene (schene?) looked like it was done by a first year film student. Like, points for creativity, but it ended up looking so gimmicky.
Julia: I’m also a little confused about Sam this week. Now he’s great at talking to girls and pressuring them into taking presents?
Jana: That’s the charitable reading. I felt Sam’s scene with Gilly was extremely uncomfortable in the context of all the times he fantasized about girls so far. Not the intended effect, that’s for sure, but after all that, to me at least he came across as much more of a creep than necessary. Especially considering how Book!Sam is not a creep at all.
Kylie: Gilly did seem super pressured. I wanted to shout at him to leave her alone. Maybe she doesn’t want the thimble!
Julia: Maybe her father/husband/abuser will find it and want to know where she got it? I doubt that would be pleasant for her.
Carol Watch: who is Cersei this week?
Kylie: I mean, Carol definitely loves her children, but this is pretty much Cersei out of the books too. Maybe it’s because this is a situation that really does fucking suck for Carol and Cersei alike, because patriarchal bullshit? Sometimes Cersei is put-upon too.
Jana: It was a Carol-esque plight with a very violent, Cersei-like reaction that you could almost understand. Like, there was nuance to the scene and there were grounds for you to be on her side. That’s what makes it hard to differentiate here, I think, usually the scenes with her are less… Ambiguous?
Julia: And the dinner scene felt like it was compatible with both. It all depends on whether Cersei was thinking about how dumb Sansa is or if Carol was thinking about how much she wanted to hug Tommen.
Danzie: It was Schrodinger’s Cersei. She was both book!Cersei and Carol depending on what mood you’re in.
Exposition Imposition: good or clunky?
Julia: I think it was fine. We even learned that the Martells hate the Lannisters. The world building with Luwin explaining about maesters’ chains felt very natural. So did the Greyjoy’s battle plans. We got to find out what a handmaiden’s job description was.
Danzie: I want Luwin to have his own spinoff where he’s a history teacher who inspires inner city kids to believe in themselves. He can exposit literally anything and I will hang on every word. I love this man.
Jana: It’s Cogger’s episode, so like most of the writing, the exposition was competent. But for real, I feel like people in general didn’t stan Luwin enough back when the show came out. He is so great in every scene he’s in.
The only thing that was maybe a little clunky was the dinner scene, though that still played very well into Cersei trying to provoke Sansa into saying something incriminating, and also, look at these kids. Of course they need some more explaining what’s going on. They’re, what, 7 and 10?
Kylie: Even Renly’s “here’s my war position” exposition wasn’t bad. It fit with the walk-and-talk of the scene.
How was the pacing?
Kylie: I felt bored. I’m assuming this has something to do with the pacing? I feel like they didn’t really linger too long on any one plot, it’s just that the individual scenes were very slow-going. Or maybe I was just bored.
Julia: I don’t remember being bored reading A Clash of Kings but that might be too apples to oranges. It does feel like nothing has happened in this season yet, doesn’t it?
Danzie: It was definitely slow going, but since it showed off some of my favorite stuff from aCoK, it gave me the warm fuzzies of reading the book for the first time. So I wasn’t bored, it just made me want to re-read loads of stuff again. I don’t know if that’s a good or a bad thing? 😛
Jana: Yeah, everything in this episode was setup, which takes the momentum right out of everything. But that’s largely a structural problem, as mentioned above. Even much better shows have slow episodes of getting the pieces into place. It’s fine. This is fine.
Let’s talk about sex, baby
Jana: Renly’s tent sure was a busy place this week.
Julia: My favorite part is, as you mentioned Jana, the arrival of the Reach as the sexual liberation capital of Westeros with Marg’s décolletage that goes all the way down to her navel in the tourney scene and her “official” virginity.
Jana: And she wore that piece of nothing surrounded by people in heavy cloaks or full armor and in weather conditions that would make this uncomfortable at best. Like with Ros going commando and flashing Theon last season, wearing that cannot be healthy.
Kylie: I liked the part where Marg offered to lie on her stomach so that Renly could pretend she was Loras. I’m just… I’m thinking about Book!Marg now and her big performance during Maiden’s Day.
Danzie: I like how she knows he’s gay but still tries to seduce him by getting naked. Like, Marg, it really doesn’t matter how nice your boobs are, he’s not into it. What is it with this show and playing sexual assault off as a joke when the victim is male?
They genuinely want you to laugh at the dumb-dumb gay who doesn’t want to have sex with the beautiful woman who is throwing herself at him. Even his boyfriend is trying to force this crap on him. Gross.
Jana: And then there was the sex worker they caught Pycelle with. Because of course. Let’s just have a pair of tits in the background for the scene. Well, at least she was paid extra?
Kylie: It was FUNNY when Tyrion gave her an extra coin!
Jana: But… What for? That she didn’t get to enjoy such a spry man as Pycelle? What exactly is the joke here? Am I too dumb and literal to get it?
Kylie: It’s funny when sex workers witness arrests. Like, oh man, that’s awkward. Are you not laughing yet?
In memoriam…Yoren, Lommy
Julia: I didn’t hate them? I don’t even mind Arya’s riverlands adventures being a compressed at bit. That is, until I remember that it’s so they have room for her to bond with Tywin Lannister.
Danzie: Can’t say I’m gutted over Yoren, but he had a likable little role. Him killing the crossbowman was pretty badass, but there’s a reason ranged infantry, y’know, stand at the back? Like, why are you reloading your crossbow five feet away from an oncoming attacker? Stand behind your buddies with swords so they can cover you, you dingus.
If these are the soldiers in the Lannister army then no wonder Robb is kicking their asses.
…and I don’t have much to say about Lommy. I completely forgot he existed until this rewatch.
Jana: To be fair, cutting down on the amount of characters and misadventures in Arya’s first trip through the Riverlands is probably not the worst decision. Not until you remember what they do with all the time they saved that way. Ugh. Yoren went out like a badass, yay; Lommy went out like a bit of a dumbass, but hey, at least his death covered for Gendry. Though you’d think the guys would have been briefed about how all of Robert’s bastards have black hair…
Kylie: I had a hard time feeling much of anything for either of these characters. I think Yoren worked for the role he was in, but it wasn’t this horrible “ohhh nooo” moment like it felt in the books. Also the Lannister troops told us they were coming back, so it felt more like a, “well, what did you expect?” kind of thing. But yeah, Jana, it’s always going to get worse.
That takes us to the end of this week’s rewatch, and we’re definitely curious to hear everyone’s thoughts. Is there a lack in the tension, or are we being too negative because of the changes from portrayals in the books? Was the lolz-gay scene as bad as we’re making it out to be? And where do Lady Zuriffs go? We shall discuss below, and as always, we wish you good fortune in The Wars to Come.
Images courtesy of HBO
Image Comics “DIE” is an Instant Dark Fantasy Masterpiece
There are so many factors that have come into play when I first heard about Image comics newest release, DIE, that it is hard to pinpoint the real reason it intrigued me so heavily. Who am I kidding, it was all the reasons. Most importantly the staff on it.
For one, it features two of my favorite Image Comics alum. The first being Kieron Gillen, the mastermind that gave us the brilliant comic The Wicked And The Divine,which is one of the best ongoing comics at the moment. On the art work is the incredibly talented Stephanie Hans whose realistic and beautifully shaded and colored panels were also featured in The Wicked And The Divine‘s 1831 one shot as well across other comic distributors such as DC with Deadman: Dark Mansion of Forbidden Love. The two coming together again like in 1831 is a match that builds this comic up to be really something special.
Image, in the last few years has really been producing some special and important books in the past few years, among them being The Wicked and the Divine, some of the more acclaimed include Saga, Blackbird, Paper Girls,and Infidel, the company takes a proud departure from Superheroes that dominate the comic industry and opt for more fantasy or science fiction stories with adult and political themes.
Lastly, the plot was incredibly unique and original. When it was advertised as Jumanji meets It, I was instantly interested. While not being a player of table top games myself, I can certainly see the crowd this book is trying to reach while also showing the fun about these games with an added horror twist that is sure to be remembered after the first issue.
The story really does follow a similar timeline to the mentioned Stephen King novel since it follows a group of friends during two periods of their lives: as teenagers and as adults. As we are introduced to each member of the group, we notice nothing in particularly strange about their characters, other than a shared love for table top games and science fiction and fantasy themes. The group has gathered together to celebrate the birthday of their friend Dominic by playing an apparently hard to find game called Gormenghast.
We learn a little about each character based on their choice of created characters. Dominic himself creates a diplomat woman that’s apparently a cross between Cleopatra and Machiavelli, the Dictator. Matthew, a magical warrior of empathy, the Grief Knight. Angela, a cyber punk, Neo. Isabelle, an atheist with gods as pets, Godbinder. Chuck, a lazily created every-man. And Sol the dungeon master with D20 die.
As the game begins the comic cuts to two hours later as Sol’s mum comes to check on them and they have disappeared. Fast forward again and it’s two years later and the group suddenly appears on a random road nearly getting hit by a car. Angela is missing her arm and we can’t really make out what happened, they are now only known as the Stafford six a group of teenagers who went missing two years ago. Sol is the only one missing from the group.
The comic again goes in time to 25 years later where we get to see how this tragedy has affected the rest of their lives. Apparently they had all made a promise never to speak about what happened, not even to one another. Sol’s mother even after so many years pesters Dominic about the fate of her son, to which he avoids. Using brilliant dialogue we see just how dark this has made their lives. Dom seems not to keep in touch with all the others except his sister who has gone through a string of divorces. They have made the best of living with their memories but it is all destroyed when Dom receives a package at a bar, a bloodied D20 die.
It’s at this moment that he decides to reunite the group. After so much time, some have changed completely while others not at all…I’m looking at you Chuck. While some have new companions and some less. They decide as a group to finally discuss what happened that night and where they were for two years until the die calls out to them. The Grandmaster threatens the realm and a hero is needed it calls as they are all sucked into the die and land into a desert ruin. It’s apparent that they have all become their characters…why does Chuck look like Varric.
With the end of the issue the group bickers among themselves about being back in the game, something they’ve repressed for nearly half their lives until Sol appears as the new Grandmaster. What I took from his dialogue is that he was trapped by the previous one and during these long years he’s fought a war to survive or escape and eventually defeated him and became the Grandmaster himself. It’s not clear whether he’s sane or not at this point but it points to the latter as he tells his friends that they are not leaving until the game is over.
This first issue was great at establishing its main cast. While I kept most of those details out of this review, the book really fleshes them out individually and gives life to each of their personalities. Anyone who has read The Wicked and the Divine will know just how well Gillen handles diversity among characters as well as conflicting attitudes. They actually feel like a group of friends you might have been a part of in high school. I really loved this book and I can’t wait to see what adventures await us.
Images Courtesy of Image Comics
Conclusion to Stumbling Beginnings in Summer Knight
It had to happen sometime. I talked last book about how much Butcher had improved on his shaky start. Published in 2002, Summer Knight brings the shaky opening to a conclusion. It also opens up a new phase of storytelling for the series as a whole. In case you couldn’t tell, I really like this book. It brings so much to the series, and features one of the more iconic moments of the series for Murphy. Let’s get into it.
Spoilers for Summer Knight and all previous books in the series.
So, What Happened?
Summer Knight opens with Harry and Billy investigating a rain of toads. Harry grumps around and alienates all his friends because of his grief over Susan. Afterwards, he goes to a meeting Billy orchestrated, which turns out to be with Mab, Queen of the Winter Fae. She bought his debt from the Leanansidhe, and wants him to clear her name for a murder. Harry refuses and goes to the White Council meeting. We meet several other wizards, and a vampire offers peace between the White Council and Red Court if they turn over Harry. At the conclusion of the meeting, the wizards agree not to sacrifice Harry if he makes Mab cooperate with the Wizards.
Harry discovers that the murdered man, Ronald Reuel, was the Summer Knight, the human intermediary for the Summer Court. The power he wielded disappeared, destroying the balance. Which, eventually, leads to war between the Courts. Elaine, shows up as the Summer Emissary. Harry attends Reuels funeral, and runs into several teenage, changeling acquaintances of the knight who are concerned over the disappearance of Lily. He visits the Winter Lady, then contacts Murphy. They fight several monsters in a Wal-Mart. He goes to the Summer Lady after finding Elaine beaten by his car.
Harry visits the Summer and Winter Mothers in the Nevernever. The Winter Mother gives him an Unraveling. Aurora, the Summer Lady steals it from him and reveals she orchestrated everything to remake the seasons in her own image. She trapped the power inside Lily. Harry objects to this. Harry, the Alphas, and two of the teenage changelings go to the Stone Table. They interrupt the fight between seasons, steal back the Unraveling, and kill Aurora, saving Lily, the one holding the mantle. In the conclusion, Lily becomes the new Summer Lady.
Best Moment – The Wal-Mart Fight, Organization to Conclusion
There are so many good things about this scene. There’s finally communication, Murphy’s first moment of awesome, and plot hooks perfectly combined with character catharsis. Over the course of this unlikely placed scene, Butcher manages to bring several elements of the early series to a conclusion.
The first, of course, is that Harry finally tells Murphy everything about the supernatural. She even gets in one last one-liner about being kept out, a start to their banter for the rest of the series. “‘I know I’ve kept things from you.’ … ‘Yeah’, she said, ‘I know. It’s annoying as hell.’”(299). He tells her everything. About the Red Court, the White Council, the Fae, and Chicago Supernatural Politics. Now, we won’t have the cheap conflict from Storm Front where they work at cross-purposes again.
Immediately afterwards, we have the fight with the chlorofiend, the Tigress, and the mind fog. At the conclusion of that fight, we also have Murphy’s first major impact since the Loup-Garou. “Murphy tore through them with the chain saw, … then drove the blade directly between the chlorofiend’s glowing green eyes.” (345). Chainsaw with cold iron, vs Fae Creature. Murphy wins.
The way that the plot interacts shows improvement from the previous book. There, Butcher attempted to tie together the antagonists with the chain spells. Here, we see the ghoul, the summoned monster, and the mind fog from two different people. The Tigress also capitalizes on Murphy’s trauma from the previous book. But everything makes sense, and the conclusion of the fight ties together various plot threads, since Ace sent the Tigress, Aurora the fog and fiend, and Murphy starts to recover from Kravos’s attack.
Most Improved – Harry’s Attitude
While some of the previous books focused more on the change to other people, here we have Harry change. He has a character arc that comes to a satisfying conclusion by the end. Harry starts the book depressed over Susan, and he alienates everyone. Billy points it out. “I don’t need to be a wizard to see when someone’s in a downward spiral. You’re hurting. You need help.” (25). Given that Billy previously espoused the theme of the series, his reintroduction here is significant. Eventually, Harry accepts the help Billy offers, both in scheduling meetings, and with the fight at the end. After the fight, Harry even goes over to hang out with the Alphas, and plays a barbarian in a Dungeons & Dragons spin-off game. He quotes William Shakespeare jokingly, and says, “Meep, Meep” to a deranged Faerie Queen. (489).
It is not only the Alphas that help change Harry’s mood. His reunion with Eileen, his teenage flame, who he thought he killed alongside Justin also helps. Finding out he didn’t kill her brings him closure. But through the book, when she nominally serves as an opponent, the Summer Emissary to his Winter, her presence reassures him. Even when she ‘betrays’ him to Aurora, and binds him, she still helps him. “I’d been right. It was the same binding she’d used when we were kids.” (433). Her meddling enables him to escape Aurora’s death trap, by using their childhood bond.
At the conclusion of the book, she gives him advice regarding Susan that builds to the catharsis detailed above. “Stop thinking about how bad you feel—because if she cares about you at all, it would tear her up to see you like I saw you a few days ago.” (510). That help sends him in a new direction.
Best Worldbuilding – The Fae Courts
While the information on the White Council is delightful, the Fae Court proves more valuable to the main plot. And we learn a lot about the Courts here. Lea makes an appearance, where she ‘helps’ Harry by distracting him and a Fae from fighting and guiding him to the Stone Table. She mentions again how she believes her actions last book only helped him as well. It gives insight to the alien nature of Fae morals.
We also can draw conclusions about the structure of the Courts given all the information on how they organize themselves. Through the book, we learn about the Winter and Summer Courts, each with three Queens. The Mothers, the retired queens. The Queens, the current ruler. And the Ladies, the heir for the future. Their Knights that do their will in the mortal world, and the Emissaries chosen on special occasions.
Also informative is the phrase, “If Winter came here, Summer had to come too, didn’t it?” (219). It implies certain checks and balances on each other’s behavior. That only highlights how serious a problem it is that the Summer Knight is dead, and the mantle gone. Lea’s information about the Stone Table reinforces that. Beyond being a reference to Narnia, it also guarantees great power to whoever holds the table, and whoever sheds blood on it. So, the peaceful transfer of the table from Summer to Winter and back with the seasons preserves their equality. Aurora’s plan only serves to show how important it is to keep that balance, less there be another Ice Age, or worse.
In showing us all this, Butcher expands his universe so much further, and sets the ‘table’ for future stories. Ones that will lead to the eventual conclusion of the series, yet to come.
Worst Worldbuilding – The Conclusion of Meryl’s Story
Given all that we know now about the Fae, it comes as no surprise that the worst worldbuilding also comes from that section of the story. Butcher’s take on Changelings is innovative, being half-human, half-Fae rather than the traditional version. The problems arise from how the narrative treats her, and the results of her half-Fae heritage.
The problem with Meryl is that Meryl dies at the end of the story. She is the first person explicitly allied with Harry to die. The only previous person that was not an antagonist that died was MacFinn, and he attempted to murder them all because of an uncontrollable curse. Meryl dying in and of itself is not the entire problem. Butcher directs the series in a darker direction, so deaths will come eventually. The issue that I have with the conclusion of Meryl’s story is that Butcher could have done so many things with her. As a Changeling aligned with Winter, dearest friend of the new Summer Lady and Knight, the possibility of an inter-Fae alliance or Court would develop.
She even said, “[Winter] Calls,’ Meryl said. ‘ But I’m not answering.’” (459). The Changelings provide a glimpse of the Fae outside of the manipulation, outside of Court politics. Meryl could have been symbolic of that. But no. Meryl Chooses to save Lily. She Chooses and she dies and all that hope with her. It’s a story brought too soon to a conclusion, one that broke off threads that could have continued.
Moment of Regression – Ye Old Wandering Eyes
I will admit, this is a sticking point for me. I talked about my dislike of Harry’s voyeurism in Storm Front. I brought it up again in Fool Moon. Thankfully, it didn’t appear too often in the following books, but here we see this again with a vengeance. And it doesn’t even make sense in character this time.
After a Susan-vampire nightmare, Harry thinks.
“But I had been used to a certain amount of friendly tension relieving with Susan. Her absence had killed that for me, completely—except for rare moments during the damned dreams when my hormones came raging back up to the front of my thoughts again as though making up for lost time.” (176).
So, theoretically at least Harry’s libido takes a break. I understand that part of this nightmare and Harry’s symptoms comes from the dangerous way he’s punishing himself for Susan’s condition. But, still. Even before this dream we have moments where he stares at Mab’s ass. He knows she’s the Winter Queen, and he still ogles her when she leaves. At Maeve’s court, Butcher spends a good deal of time describing Jenny Greenteeth, a Fae seductress. He could have emphasized the alien way she moves, the details that make her decidedly not human, and dropped a one-liner about her being naked at the end. It would have been in character for Harry’s blasé kind of humor. Instead, Butcher flips that script, focusing on the nakedness, with the inhumanity coming as an aside.
Call it my own personal soapbox, if you will, but that doesn’t sit well with me, especially when the last book did so much better with Harry’s gaze. (Not perfect, of course, but better. It doesn’t have to be perfect, it just needs to keep improving.)
Overall, Summer Knight showcases the best of Butcher’s work so far. While the choices were somewhat limited compared to last book, the plot hangs together much better. That cohesive plot lent its voice to each category, and the worst moments were nitpicks and could-have-beens.
The way that Butcher brought this story arc, and Harry’s character arc to a conclusion proved satisfying. His mastery of plot improved, with the motivations of the antagonists and the number being reasonable, instead of overwhelming. The knowledge about the Fae, about the Council, and about Elaine all help set up this next phase of the series. I’m looking forward to the next book.
Am I being too nit-picky in the ‘bad’ categories, or is it just proof of concept that the problems can be reduced to nitpicks? Was the White Council more fascinating than the Fae, or was Harry’s arc disjointed? Let me know if I’m being too harsh on the series, if you had a different idea for a category, or if you have any comments about the arc of the series as a whole. I look forward to hearing from you.
Game of Thrones 3×10 Rewatch: Mediocre
We’ve done it! We’ve made it through three seasons of Game of Thrones here with our rewatch project The Wars to Come. And with that, we’ve also made it through the most bearable parts of this series by showrunners David Benioff and Dan Weiss (D&D). While last week brought some mixed reviews, it seems that this week, Kylie, Julia, and Katie are leaning more towards jeers and boos in “Myhsa.”
Picking up from last week’s morbid end, it’s a slaughter outside the Twins as the Frey troops finish off Robb’s forces. Arya, escaping with Sandor, oversees her brother’s body being paraded about—now with Grey Wind’s head on his shoulders. The next morning, Walder Frey chats with Roose Bolton about their improved stations, now that Roose has become the Warden of the North. Roose reveals that his bastard Ramsay was the one who got the Ironborn to surrender Winterfell, and the one keeping Theon hostage now. Arya and the Hound, meanwhile, pass a group of Frey soldiers who brag about aiding in sewing Grey Wind’s head onto Robb’s body. Arya slips off Sandor’s horse and kills one of them, with Sandor killing the other two to protect her.
We check in with Theon and Ramsay, the latter of whom is still torturing the former. Theon asks to be killed, but Ramsay points out he’s not useful to him that way. He decides that Theon’s new name is ‘Reek’.
At some point, Ramsay had sent a box containing Theon’s castrated penis to the Iron Islands, with a letter telling the Ironborn to withdraw from the North. Balon and Yara receive it, and though Balon seems completely indifferent to Theon’s suffering, Yara decides that she will take her best fighters and rescue her brother.
Despite the massacre at The Twins, things seem rather peaceful in King’s Landing for a moment as Sansa jokes around with Tyrion about ways they can prank those who speak poorly of him. However, that is soon dashed when he attends a Small Council meeting where it’s revealed what happened to the Stark forces. Joffrey is gleeful and says he wants to show the corpse of Robb to Sansa, but Tyrion tells him he can’t torment her any more. This leads to an unpleasant confrontation, which Tywin puts an end to by sending Joffrey to bed. As everyone else clears out, he reminds Tyrion that he must impregnate Sansa now that she’s officially the heir to Winterfell. That might prove difficult, since when Tyrion sees her next, it’s clear she heard about her family and is incredibly sad.
Later, Varys tries to bribe Shae to leave Westeros, since he believes Tyrion can help the land and Shae is a distraction to that end. She refuses. Tyrion, for his own part, passes his time by drinking with Pod, until Cersei comes in and tells him that he really should impregnate Sansa, so that she can have some joy in her life, just like Cersei’s children brought her. Much later, Jaime arrives back in the city, and meets a stunned Cersei.
Up at The Wall, Bran and the Reeds take shelter in one of the abandoned Night’s Watch castles. Bran tells them it’s haunted because of the ‘rat cook,’ a man who killed his guests under his own roof and was cursed into the form of a rat. Gilly and Sam turn up at the same castle, and Sam recognizes Bran as Jon’s brother. He gives Bran and the Reeds his dragonglass to help protect them as they set out north of the Wall.
Sam and Gilly make their way back to Castle Black, where Sam makes the case to Maester Aemon that Gilly is worthy of their protection given their vows extend to the “realms of men.” Gilly names her baby after Sam, and Aemon, after learning what they had seen, commands Sam to send out all the ravens with this news.
They’re not the only ones to make it back to Castle Black; Ygritte finds Jon washing his wounds. He tells her he loves her, but he has to go home, and says he knows she won’t hurt him. That bit turns out to be wrong since she shoots him with arrows three times, though Jon still manages to ride back to the castle where he is greeted by Sam and Pyp.
Down at Dragonstone, Davos struggles with Gendry as a prisoner. The two talk, and Davos reveals that he too was lowborn and from Flea Bottom. Later, Davos reads through Stannis’s mail having made great strides in his literacy. He comes across Maester Aemon’s letter and is shocked. However, the news arrives that Robb has died, which means Stannis wants to sacrifice Gendry, since they now have a sign that the leech magic worked. Davos tries to argue against it, but it’s hopeless.
Davos instead breaks Gendry out and sneaks him into a rowboat, giving him guidance on how to get back to King’s Landing. When it’s discovered that Gendry is missing, Davos is correctly accused by Stannis and Melisandre. He’s sentenced to die, but Davos quickly pulls out Aemon’s letter and tells Stannis the real fight is to the north. Melisandre agrees with him, and tells Stannis that Davos has a part to play still.
Finally, in Yunkai, the now freed slaves come outside their gates to meet Danaerys. Her Unsullied guards are wary, but when the freedmen begin calling out “Mhysa” to her (meaning “Mother”), she realizes that no one will hurt her. She leaves the protection of her Unsullied to walk among the Yunkish.
Initial, quick reaction
Kylie: I’m really not able to type well, because I am still cringing from the crowd surfing scene. And especially knowing the script fully intended for Dany’s whiteness to be the focal point…ugh.
Trying to think about this episode as a whole, there was so much that just straight up annoyed me, but then the numerous Davos and Bran scenes somehow were well-placed enough that I’d calm down. It’s not that they were even that amazingly done (seriously, how would any show-only like Stannis at this point?), but the rest was just…very clearly not the show we began with in Season 1.
Katie: I was happy to get to jump on this rewatch because I always am interested in tenth episodes of Game of Thrones’s seasons. The big climax has just occurred and then there’s so much wrapping up and scene-setting to establish what comes next. They’re so often good barometers of how the show is doing. This one was a roller coaster for me. It reminded me of a lot of the things I genuinely enjoyed about the earlier seasons of the show, but then Sansa would be sidelined, Ramsey would monologue, or oof, that whole last scene.
Julia: All of this episode was mostly a need to set things up for the coming seasons. Sometimes this makes perfect sense, like setting up Stannis going north, but sometimes I was just scratching my head going, “Why are they digging this whole even deeper?”
Okay, that was mostly the scene where Shae rejected those diamonds. Like, did they have a different plan for her at that point? Why?
Kylie: I actually think my highlight was Walder and Roose talking, since you can clearly see just how odious they are, and also how that chip on Walder’s shoulder came to define a war. Roose was a bit hypocritical with his, “Robb didn’t listen to me ever” and also, “here’s how the situation with my bastard unfolded that Robb sanctioned,” but that’s not exactly an issue since we’re not meant to be convinced by these two. At least I don’t think so.
My lowlight is a very personal annoyance, I know, but Sansa laughing and joking with Tyrion and not knowing the word “shit” was pure sheep shit in and of itself. Also how many times did Arya possibly stick poo in the mattress that Sansa was no doubt sharing with like, Jeyne Poole?
It’s just, come on. I get that the sun rises and sets out of Tyrion’s ass on this show, but can’t his prisoner wife at least be a bit distant to him? You know, her whole thing in the books with her armor of courtesy. The way the show makes it seem, she was well on her way to liking this marriage, and then the death of her family made her sad for a few days (during which will be her escape, since that’s coming in two episodes). So frustrated.
Katie: That’s a good highlight, it’s always nice to see David Bradley cackle his way through his lines. And you know, I actually really considered Sansa laughing and joking with Tyrion as a lowlight too? Not because the scene itself is particularly bad (I’d forgotten how nice it is to see Sansa look happy about something, anything!). But because her emotions in all her scenes this episode are 110% about Tyrion. First to make him look like a great guy, which is par for the course. But it gets even worse later when it turns out that Sansa heard the news of the Red Wedding off screen, and her sadness is not her own, instead is simply given the narrative function of bumming out Tyrion a bit more. It’s a good pick for highlighting all of the generally… bad writings tendencies of the later seasons.
That said, I have to pick the closing Mhysa scene. It’s probably the point when I turned hardest on this show when I originally watched it? It’s such a thematic, narrative, and directorial failure, bad for the story and gross in all its racial implications. There were a lot of bad scenes in this episode, but this was the one that made me most actively angry.
Kylie: Yeah, it’s completely tasteless and the last taste you get of the show for the season. It may actually have been the worst closing shot of any season, now that I think about it.
Katie: My highlight is probably the Small Council scene, before it’s whittled down to Tyrion and Tywin? I’ve always liked the dynamic of more competent people having to deal with Joffrey’s kingship and deciding whether to be deferential or confrontational. It’s also a scene that’s not overly talky, and lets the (good) acting speak for itself. Honestly, though, I probably just enjoy seeing Charles Dance belittle Jack Gleeson. Honorable mention to Davos and Shireen hanging out and reading together, because it was very sweet.
Julia: Jack Gleeson is such an easy highlight to pick. He was just so happy and bouncy. And it helped that it was more or less just a book scene acted excellently. But I’m going to take your honorable mention and turn it into my highlight. Remember when Davos actually did stuff? Remember Shireen’s School for Conveniently Placed Illiterates? I used to love both these characters so much, and they have such great chemistry together. So even though this scene triggered a spiral where I was thinking what the Westerosi equivalent of Dutch speaking printers that would result in there being a “g” in “night” would be, or if they even have standardized orthography in Westeros, and what a trick that would be without printing, and if the maesters as an institution would be enough of a centralizing force to have standard orthography make sense…. I still really liked it.
I honestly think the “pork sausage” scene is not only a lowlight of the episode, it might be a lowlight for the whole series, even given all the stuff they’re going to do later. It was just so long and so… Am I going insane, or did they play it for laughs? Maybe they were going for some kind of Deadpool-esque black humor, but whatever Ramsay dangling a sausage was supposed to be, it wasn’t funny.
Katie: It’s so bad! I think they are playing it for laughs, at least kind of? Ramsay’s whole shtick seems to be “he’s so evil and so wacky! Isn’t it crazy?!” The cavernous abyss between the obvious delight D&D have in writing Ramsay and the terrible way it plays out on the screen and drags down the story is a… not great sign of things to come.
Kylie: Also speaking of what’s to come, Ramsay and eating becomes like, a thing, sort of similar to Brad Pitt’s character in Ocean’s 11. I guess it’s because they found this sausage scene suitably off-putting or something? But it leads to a full-on dramatic moment of Roose telling him to stop eating in Season 5.
Quality of writing
Katie: It is the lowest of low-hanging fruit, but can we talk about the Ramsay-Theon scene for a sec? The first shot of Theon in this episode is just a lingering shot on his crotch. We have an endless Ramsey monologue as he eats a pork sausage (get it?), and then Theon gets punched in the face a lot and cries. This show, guys. “Do eunuchs have a phantom cock?”
Julia: Yeah, the dialogue is cringy, but in terms of writing, the bigger question is why this scene, or this plotline even exists. GRRM puts a lot of disturbing stuff on the page (far too much according to many people) and even he chose to leave most of this stuff as implication. Perhaps they should have asked themselves why that was.
Kylie: I guess just so we could see the “transformation” into Reek more clearly? Like, they wanted him to be called ‘Reek’, but didn’t think that would track. Why they left the nickname in is beyond me, since they cut out Ramsay posing as Reek, and all that rather confusing backstory that came with it.
Even if they felt like we couldn’t have understood how broken Theon was without showing at least some torture, we certainly could have gotten by with half as many scenes, and none needed to be quite so explicit or drawn out. This one in particular was endless.
While we’re talking about the sausage though, I actually liked the dialogue given to Balon when he reacts to all of this. It was very on-point for the Iron Islands attitudes.
Katie: It was also undercut a bit by the fact that it makes the adoption of Reek seem kind of arbitrary rather than an eventual outcome of Theon’s torture. Theon’s obviously not in a great place at the start of this scene, but there’s not much of an indication that he’s really lost his sense of self. He seems eager to hold onto his name when he first gets hit in the face. Because of that, the fact that he takes up the name at the end seems less like a culmination of a character arc than an admission that he’ll do what Ramsey says if he gets punched sufficiently.
Agreed about the Balon dialogue. I also didn’t mind Cersei’s mom monologue (momologue! oh, gross, I’m sorry).
Julia: Like Walder Frey’s obnoxious misogyny last week, Balon’s horribleness felt like it was actual there to serve the world and the characters. I’m not sure why Ramsay’s antics feel so different, especially from Frey’s stuff. Maybe it’s just the absurdity of the sausage wagging.
Kylie: They just feel very out of place. The dialogue doesn’t sound like anything that’d be in ASOIAF, and I don’t just mean because of some strange anachronisms, like talking about “phantom limbs.” No way Westerosi would have coined that term.
Our 8th grade book report (on themes)
Katie: Tough to pick a theme in an episode that had roughly 36,000 plot lines happening at the same time. The closest I could come to was the emphasis on tension between valuing the Family Name and valuing family members themselves. The clearest example is Tywin’s long speech to Tyrion about how he wanted to kill him as a baby but HE WAS A LANNISTER so he kept him around, but it’s also evident in Balon’s indifference to Theon once he’s a family liability (and Yara’s pushback). I suppose it works with Stannis and Gendry as well, with Davos playing the Yara figure. If we want to be kind and stretch this theme to its breaking point, we could also include the Davos/Gendry scene about Flea Bottom, and the Shae/Varys scene, both of which demonstrate how those without a family name often have to play by different rules. That still leaves out most of the episode?
Julia: That’s an excellent effort. There’s something there maybe about obligations. Like, Jon has one to the Night’s Watch, and Tywin had an obligation to not kill his own child, (the cross he bears is heavy) and Guest Right is an obligation, but that just seems like a less insightful version of what Katie said.
Title? Dany is a mother to all the freedmen, and motherhood is also what Carol’s content is about. And the Rat Cook is a parent too…it’s totes a theme.
Kylie: Gilly is a mother to the baby she just named Sam! Honestly, the title is feeling pretty peripheral to me.
Katie gets full marks though, for sure. The three Stark kids kinda have a mutual loss of innocence (not than any of them are fully innocent at this point, of course). Sansa learns about her family’s fate, Arya kills her first man, and Bran heads north of The Wall. That one is kinda weaker, but given this is a season that ends in the middle of a book, it’s more of a parallel with them than I’d have expected.
The Butterfly Effect (cracks in the plaster)
Kylie: I don’t want to keep harping on the Sansa/Tyrion scene, but I think this is one of the clearest butterfly effects at play. Tyrion is made a really, really, really nice guy who the audience loves, so any character we are meant to like must love him too. In this case, Sansa. So take the whitewashing of his character that’s been there from the start, and two seasons later his prisoner child-bride is joking around with him, and Varys tries to set Shae up for life across the Narrow Sea, because Tyrion is apparently the only man who can save Westeros and he needs to be less distracted.
Katie: Agreed. I was shocked at how openly Sansa was used as an emotional prop in this episode.
Julia: Ugh, I feel like I can rant about Saint Tyrion for hours. In fact, I’m quite sure I have. I would argue that the changes to Tyrion’s character have the most butterfly effect of any decision in the show, maybe more than the decision to age up the kids, or the one to take out most of the supernatural elements. Tyrion’s characters flaws in the book drive the plot quite a bit, after all. And make his actions make any kind of sense.
At this point, I think many intelligent show-only watchers would be surprised to learn that Sansa is a POV character in her own right. And that Shae isn’t.
Katie: Also, this is a very small detail, and nit-picky, but I think it illustrated well the problems the show increasingly ran into down the line. I am not at all a fan of the choice to open the episode with… the mass slaughter of Northern extras. It’s supposed to serve as a carry-over from the climax of last episode, I suppose. But the reason The Red Wedding works as an emotional gut-punch is because it’s so intimate. It’s a shockingly and terribly personal moment.
As y’all noted last week, it’s a climax the show keeps trying to recapture, and it keeps trying… badly. In large part because it keeps aiming for grand scale over the emotional horror of individual moments. Michelle Fairley did such a good job of selling those last few seconds of emotion in The Red Wedding. Opening this episode with anonymous extras screaming and dying is literal overkill: it takes what should be the center of the scene—Arya seeing Wolf-Headed-Robb—and confuses and muddles it. Rather than a clear, stark (sorry), emotional moment, we get a frenetic, busy, overly-complicated scene. Clean it up! Bombast isn’t always best. It’s not a big deal, really, but it’s a wasted opportunity, and so indicative of what the show is going to prioritize as it goes along.
Julia: At least it gives the aforementioned hypothetical intelligent show-only watcher the tools to call bull on Tywin’s later line about all he did was kill a few dozen men at dinner, and what’s so wrong about that?
Kylie: True, though I’ll agree it was very visually busy. There’s that shot of Roose that opens it, and the way he walked to look out reminds me exactly of this one shot in Return of the King with an orc charging into battle. It was a wonky way to open things (also it was pretty damn dark), and given the effectiveness of the Walder and Roose scene later, I don’t think it’s a very necessary one.
Worth noting something that’s about to turn into a butterfly effect: the Night’s Watch vows. Sam found the “loophole” to make a case for Gilly staying (a compelling one at that). Next season we get the sex loophole, and I feel like we had one more at that too. Maybe the implicit loophole that allowed Jon to quit? It’s also symptomatic of D&D chasing a good thing, or something that lands. This is still pre-chicken joke GoT, remember.
Julia: Well, this section is getting harder and harder.
Um. Gendry fits rather seamlessly into Edric Storm’s role in this episode. Minus the way he bonded with Davos, I guess. They bonded in both cases, but not in the same way.
The small council scene about the Red Wedding was pretty good, at least until it became about how awesome Tyrion is for not raping a 14-year-old, but other than that the stuff from KL was not super faithful.
Kylie: Not at all. Though let’s chat about the adaptational decision with Yara. Is it that D&D just don’t plan more than one year at a time? Because I don’t think it’s about them feeling like we needed to check in with her and trying to come up with a great Season 4 plot for her specifically; we didn’t check in on the Iron Islands at all this year, and there’s nothing that necessitates putting the theater in next year either.
Even if they did plan, does that mean they purposely set up Yara for a completely futile, one-off failed mission? Because god knows they wanted Theon to be in his ADWD plotline, no matter what woman gets shoved into Jeyne’s role… I guess I’m just not getting what they were even trying for with this. False hope of Theon’s rescue?
Katie: Such big chunks of these finales focus on laying the groundwork for future plots. But in practice I think that sometimes bleeds over into just… setting up potential drama or tension? It wouldn’t surprise me if they just wanted another rousing (“rousing”) speech or set up for potential action next year, regardless of whether it would matter at all in the long run. The more generous part of me wants to say that there was some level of awareness that the Theon/Ramsey scenes were floundering and needed the (false) promise of some kind of narrative development before the end of the season.
Julia: In retrospect, though, it does seem cruel of them to set Yara up like that. As cruel as setting Shae up like that was. I think being even more generous is presuming that they had different plans for both these characters—they wanted Shae in particular to do something different during the trial and for Yara to maybe do something like her book plot with Stannis maybe–but audience reaction, or budget, or lack of writing skills made it impossible?
Carol Watch: who is Cersei this week?
Kylie: This is the most Carol Carol who Carol’d all the way to Carolville in her Carolmobile.
Katie: She reminded me of a mom who has been to so many grinding, exhausting parent-teacher conferences about her terrible kid. She knows the teacher is right, but she has to keep her game-face on? She’s just trying her best.
Julia: Imagine another hypothetical intelligent person, who only ever sees this episode of GoT, being told that Carol is supposed to be the villain.
Also, what on earth was that sleeveless number she was wearing in the last scene? And why was she looking at a seashell of some kind and smiling sadly?
Kylie: She was smiling sadly at seashells. She and Jaime used to sell seashells down by the seashore, or something. I feel like I remember that context being explained to us (was that something they talked about in the pilot?) but damn if I remember.
Julia: They talked about jumping off a cliff once.
Why was her scene with Tyrion even there? Like I say, it’s an odd thing to do with someone who’s supposed to be a villain. Was it all just so Tyrion can seem like a nice guy for not wanting to impregnate Sansa?
Kylie: Or to make it clear that once Cersei’s kids are gone, there goes the only good piece of her. Yay! Either way, there’s no debate this week:
Exposition Imposition: good or clunky?
Kylie: Tywin’s exposition seemed good, albeit horrifying. I guess Bran is technically expositing with the rat cook, too, though that’s really just telling a fairy tale. I don’t know, the things that jumped out to me as clunky in this episode were not exposition in nature.
Julia: What, talking about phantom cocks was not exposition? Maybe Ramsay should have asked a cock merchant, I’m sure they would know all about that.
Feel free to be annoyed at me, but the way Tywin said, “I raised you as my son, because you are a Lannister,” to Tyrion probably gave a lot of fuel to the Tyrion the Secret Targ folks.
Kylie: That was also following him saying “since I cannot prove you’re not my son” in another episode this season too, I think. Maybe Charles Dance is a Tyrion truther.
How was the pacing?
Julia: D&D seem to have more trouble with pacing within scenes even than the pacing of episodes.
Kylie: I’d agree with that. The entire episode stops dead at the sausage waving, and frankly Davos and Gendry’s conversation didn’t exactly get to a point.
Overall the episode just struggled from that spottiness we’ve been seeing all season. I can’t tell if it’s better or worse that they were trying to give so many characters a stopping point. Often jumping around helps break things up, but it sure didn’t feel like that this time.
Another week of no sex, baby
Katie: You know, given the number of scenes where people tell Tyrion to have sex with Sansa, maybe “no sex, (no) baby” is the theme.
Kylie: And now his watch begins, after all. He hasn’t seemed to be getting it with Shae either, now that I think about it. I guess she’s struggling with her maybe!jealousy still over Sansa?
Julia: No, no Kylie, she’s outraged that people would dare treat Sansa this way, since she loves that girl so much and would kill for her.
Kylie: Until she decides that whatever, let’s just implicate Sansa in a bunch of crimes. I can’t believe we have another season of Shae…
In memoriam…those Frey soldiers
Katie: In memoriam of the last time Arya’s character arc was interesting! Sorry.
Kylie: Ain’t it the truth. We’re about to get a full season of her and Sandor doing nothing, and talking about how nothing is nothing, and frankly that’s a highlight compared to Braavos and her arc quite literally iterating. Though…Arya in Season 7 was not boring. Many other things, but that’s one charge she gets away from.
Is this where we should talk about her kills in the book getting thrown in at random times and in random contexts?
Julia: I remember there being a chart.
This season’s been fun. I think I get people still having patience with this show after this, but in retrospect, it’s so totally off the rails already.
And I just remembered, the Pornish are coming soon!
Kylie: OH MY GOD.
Well, for us at least, the Pornish won’t be coming until 2019. We will have the Season 3 rewatch podcast out to you in the next couple of weeks, and then Season 4’s rewatch will start January 8th.
Thank you all for following along this season. We’re curious to know what you thought of this episode specifically, though. Did D&D leave a tantalizing endpoint, or are things just sloppy to the point of distraction? Let’s discuss that below, and we wish you both a happy new year and good fortune in The Wars to Come.