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Game of Thrones 3×06 Rewatch: The Fall

Kylie

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It’s time for one of the famous Game of Thrones monologues in this week’s installment of The Wars to Come, our rewatch project looking back over David Benioff and Dan Weiss (D&D)’s masterpiece to see where it slipped out of gear. Last week, we appreciated Bryan Cogman’s use of book dialogue. This week, Kylie, Julia, Musa, and Bo examine some of D&D’s iconic writing in “The Climb.”

Episode Recap

It’s a difficult week for our characters on Game of Thrones, and Sam and Gilly are no exception. They may have escaped the Night’s Watch mutineers, but they’re still a few days from The Wall, and traveling alone.

Bran is also traveling, though with his new companions in the Reeds; there’s also new strife between Osha and Meera. The two women bicker since both feels the other is rude to them; this is quickly interrupted when a sleeping Jojen begins to have a seizure. Meera takes care of him through it—apparently this is a common side-effect of his green dreams.

Also traveling up north are Jon and the wildlings, who are planning on scaling the Wall. Ygritte tells Jon that she knows he didn’t really defect from the Night’s Watch when he killed the Halfhand. She doesn’t mind that, but she tells him that they need to look out for each other, since they’re both just soldiers on different sides of wars who don’t truly matter to those leading the efforts. They climb the Wall with Tormund and Orell, though there’s a moment where it seems like they won’t make it, and Orell proves that he was more than willing to sacrifice them if it meant him making it to the top alive. When they finally reach the top, Jon and Ygritte passionately kiss.

Meanwhile, in parts still undetermined, Theon is yet again being tortured, this time by the man who pretended to free him. The man admits that he is a liar, and they “play a game” where the man flays one of Theon’s fingers. If Theon begs him to cut it off, the man wins.

At Riverrun, two Freys deliver Walder’s terms to make up for Robb’s broken marriage. Walder wants Harrenhal, which Robb agrees to give after the war is over. He also wants Edmure to marry one of his daughters in place of Robb. Edmure initially refuses, but this is the only way to get Walder to agree to support Robb’s efforts in taking Casterly Rock, so Robb, Blackfish, and Cat all persuade him otherwise.

Speaking of that now promised Harrenhal, Jaime and Brienne dine with Roose Bolton, since they are now being treated as highborn prisoners. Roose tells Jaime that he’ll be free to go back to King’s Landing, provided that he explains to Tywin that it was Locke acting independently when he cut off his hand. Brienne, however, has to stay behind, since she holds no value to Roose and he considers her a traitor. Jaime argues against this, but Roose tells him not to over play his…position.

Elsewhere in the riverlands, Arya practices her shooting with the Brotherhood without Banners when Melisandre unexpectedly rides up. She meets Thoros and Beric, and learns about Thoros resurrecting the storm Lord numerous times. She then gets the Brotherhood to sell her Gendry in exchange for gold. Arya yells at them for this, but they don’t change their minds.

Finally, in King’s Landing, the weddings between Tyrion and Sansa, and Cersei and Loras, are finalized when Tywin tells Olenna that he’ll name Loras to the kingsguard—giving up all claims to Highgarden—if she refuses this offer. Loras likely won’t mind, since his attempts to converse with Sansa demonstrate his supreme disinterest in the match. Cersei and Tyrion discuss their upcoming weddings with each other, and how they’re unlikely to be able to get out of them. Tyrion asks once again about Ser Mandon trying to kill him, and it’s revealed that it had been Joffrey, not Cersei, who gave the orders.

Resigned to his fate, Tyrion tells Sansa about their engagement, made all the more awkward by Shae being right there. Sansa is crushed. Littlefinger and Varys discuss these events in the throne room, since it was Littlefinger who spoiled the arrangements anyway. He tells Varys that he thrives on chaos, which is a ladder, and implicitly informs him that Ros is now dead, since she informed on him to Varys. We are then shown Ros, who was murdered by Joffrey with his crossbow, presumably wanting to try out killing for the first time.  

Is chaos a ladder? We are absolutely going to discuss that below.

Initial, quick reaction

Kylie: Aaaaand here’s the Game of Thrones I’ve been watching for the past three years. Holy bajesus did this episode plummet right off the cliff faster than Jon and Ygritte. There’s a few pieces that were fine, but the King’s Landing plotline (and climax) is just a comedy now. Then we’ve got the return of torture porn, Mel’s adventure of randomness, and a catty Osha and Meera. This was just…such a decline in quality.

Bo: They quadrupled down on the gratuitous violence here. It’s the only impression this episode left on me. The hard dive into torture porn was unrelenting. You can tell they really want this to define Game of Thrones, too. I suppose it does. In the end Game of Thrones is the show of gruesome violence that punishes viewers for caring about anything and simply tortures for torture’s sake, just like Ramsay. The ultimate example of which comes in 3 episodes.

Julia: I like the idea of show!Ramsay being some kind of personification of the show itself. The question then is, who are the Knights of the Vale?

The only thing this episode didn’t have, in terms of Classic GoT Moves™ was making you like a character and then killing them horribly.

Musa: I was seriously just bored throughout this episode. There was so little about it that I felt in anyway compelled to be interested in. Even the infamous speechifying at the end was not enough to save it.

Kylie: I remember it being funnier, and less like word salad.

Highlights/lowlights

Kylie: I think my highlight was the Roose/Jaime/Brienne dinner. Those are three great actors, and you could tell that things were in motion with Roose that Jaime/Brienne were in the dark about. It also felt like there was tension, with Jaime insisting on Brienne accompanying him and such. There’s not much to say beyond that; a solid scene in a cruddy episode.

Am I allowed to pick everything in King’s Landing? I guess I’ll pick Sansa’s scripting if I have to focus in on one thing, where she’s so oblivious talking to Loras as he’s going on about fringed sleeves, and then is naively prattling to Shae who seems to know she’s being dumb, and finally she’s shown crying at the boat just as Littlefinger says, “Some are given the opportunity to climb, but refuse.” Everything put together makes her seem like this unobservant, imperceptive, superficial dolt. Which is a charming 180 from the books.  

Julia: In the interest of lowlight diversity, I’m going for the stuff with Osha and Meera. I think it’s quite indicative that they saw a plotline they thought was boring (their problem, in my opinion, not the plotline’s) and decided to fill it out with two women snipping at each other for no reason.

I would count the Brotherhood selling Gendry, but I think that’s mostly because I know what they’ll do with it by season 7. They did seed that they compromise their principles because they “need the gold” after all.

Highlight… huh. I agree about the Harrenhal scene, I guess. Though I think the direction was a little too willing to laugh at Brienne in a dress, rather than, like, using her discomfort with wearing traditionally female clothes to develop her character.

Bo: Meanwhile, Loras Tyrell, promising knight who represents a young Jaime, knows more about fashion than Sansa Stark. Of course he does. He’s gay. Get it. Everyone laugh because sword swallower.

I really don’t have anything that stood out as a highlight. The Bolton dinner scene was fine. From a purely spectacle level, the Wall climb was pretty cool. That’s all I have.

Theon’s torture is my lowlight. Ramsay says all there is to say. This scene exists just to exist. It’s just there to make us feel bad, just as he’s only torturing Theon to hurt Theon. It’s pointless, gratuitous, torture porn by every definition of the phrase. Ramsay also speaks the line that truly defines one of the key reasons I dislike the show so much, and the line that has caused millions to misinterpret what Martin wants to do with A Song of Ice and Fire. Shame on the torture scene. Shame on everything about it.

Musa: I’m going to have to double dip and say the torture stuff was my lowlight too. There’s a lot to be said about the poor handling of Theon’s torture. I’m sympathetic with the idea of not wanting to just leave the character and his story hanging for a whole season where he doesn’t appear (though it’s not like they wouldn’t do exactly that with Bran later) but there doesn’t actually seem to be anything worth exploring in what they show. Ramsay is a monster and Theon is being horribly brutalized after having done a lot of terrible things in his own way. That’s basically about the gist of this plotline and they spend ALL SEASON on it.

A highlight is significantly more difficult to really pull out of my hat here. Honestly, aside from all the nonsense of that scene itself, I actually do enjoy the back and forth between Charles Dance and Dianna Rigg. I mention the actor’s names instead of the characters because it’s honestly really just the actors showing off their performance chops in a scene together rather than anything meaningful for either character that they’re supposed to be playing. I don’t know whether I want to fully believe Tywin is just THAT uncomfortable with the topics of menopause and homosexuality, but I definitely felt that I was watching an old straight white man being confronted by things that are not his forte and thus terrify him to discuss them openly.

Quality of writing

Bo: “Chaos is a laddah.” “If you think this has a happy ending, you haven’t been paying attention.”

We could probably leave it there. This episode was full of grimdark nonsense that D&D love. I’m probably being overly harsh, but I just feel nothing but grimness and anger afterwards. The Tywin/Olenna and Varys/Baelish scenes are also prime examples of D&D thinking they’re more clever than they really are.

Julia: You forgot “A sword swallower, through and through.”

I think it’s kind of amazing how obvious it is that the split of A Storm of Swords leaves both Cersei and Tyrion with nothing to do this season. So Tyrion is just asking random people who tried to kill him and Cersei is…sad she can’t control Joffery? What Emmy worthy arcs.

Bo: Remember people saying they can’t adapt A Dance with Dragons because it would be boring to have Tyrion wander Essos asking, “where do wh*res go?” every episode? I guess this is different somehow. Tyrion sitting around Meereen drinking and telling jokes was different, too. Somehow.

Kylie: I guess Tyrion gets married on top of drinking. Though why that particular conversation was put off-screen is beyond me. It kind of seemed like the one bit of natural tension there to be explored, since Sansa and Shae were both in the dark.

FOOLED YOU

We have to talk about the climb monologue, since the whole damn episode is structured around it. Nevermind Varys and Littlefinger no longer bearing any resemblance to their book counterparts (this is why the spy vs. spy doesn’t work!), but the content of the speech itself was complete drivel. “Some think about climbing, while others don’t climb, and some only know the climb, and the realm is an illusion!” It sounds like some first year English major who just learned about post-modernism. The point is that chaos creates social opportunity, but he’s still climbing the social order very much within the feudal framework. So…it’s less “chaos” and more “unrest.” Or even more simply, “some people profit in war.” Menacing.

Bo: Which is exactly what I mean by D&D thinking they’re more clever than they are. They love monologues like these, even when they’re often complete nonsense. I suppose you could give them the benefit of the doubt in that this is only Littlefinger’s view of the world, and that it’s a view proven false when chaos does prove to be a pit that swallows him whole later. But do we really think that’s what D&D had in mind with this speech?

Musa: The biggest problem with all the Littlefinger and Varys stuff is that they clearly outright state to each other stuff that they’ve done to try and thwart each other. In the books, they don’t do that…because they don’t want the other one to know what they’re doing. And that, children, is how actual spies and political machinators operate. Littlefinger expositing to Varys that he KNEW ALL ALONG about Varys’ scheme to give Sansa to the Tyrells and that he’s also had Ros killed just gives Varys additional information.

Also another sighting of random Varys Marx, doing things “for the good of the realm,” whatever the hell that’s supposed to mean. No wonder that sends Littlefinger off into his nonsensical monologue, it makes just about as much sense as Varys doing things for the good of the abstract concept of “the realm.”

Kylie: He was having Ros confide to him about Sansa boat logistics for the good of the realm. Duh.

Our 8th grade book report (on themes)

Kylie: I’m having a really hard time linking what Ygritte said to Jon to anyone else. From what I can tell, the best theme is, “everything is bad, and if you think it’s good, you’re dumb.” In every plotline, maybe with the exception of Bran/Sam’s, people are not having the best go of it. Sansa, Loras, Cersei, Tyrion, Ros, Shae, Edmure, Theon, Brienne, Gendry, and even mildly Olenna are dealing with some kind of terrible news this episode. Jon and Ygritte maybe ties in with her words about how everything’s terrible, which is why they need each other, though they had a more uplifting ending to it. Still, acedia is in full swing here.

Julia: I think you can actually link the title and the speech with that, as eye rolling as the exercise is. And the Wall is a visual representation of this ladder that LF is speaking of, though why they chose to mix their metaphors here is a good question. Why can’t chaos be a wall?

Bo: Jesus, why wasn’t chaos a wall?! I doubt it helps the speech that much, but it would have been better than a ladder. I’d agree that the “chaos ladder” is the theme of the episode. We’re seeing everyone try to climb it and how well (or not so well) the climb is going.

Except Ygritte, who just wants to step off the ladder and take Jon with her? What a wonderful metaphor for my interest in this show.

Kylie: I keep think of Turtle’s “chaos is a catch-all.” Go read that one, guys.

The Butterfly Effect

Bo: I’m not sure this fits here, but let’s remember how Melisandre banged the audience over the head with foreshadowing about Arya that never actually comes to pass. I’d wonder if they were going to cram it into season 8, but they already removed Mel from Arya’s list without any explanation. Game of Thrones does this a lot in the first 3 seasons, where they foreshadow future plot points or establish future conflicts, then randomly dropped them when season 5 rolled around.

And of course, acedia. Sooooo much acedia.

Julia: Maybe we’re just supposed to think Mel is full of shit by season 7?

Kylie: I think they were setting something else up for Arya entirely this year, maybe thinking they couldn’t just have her fuck around the riverlands for an entire season with The Hound, and certainly not spend two years in Braavos. This whole event puts Mel and the Brotherhood on her list, and then she just drops them off it by Season 5, deciding she’s “forgiven them.”

Something worth noting is that D&D stray further and further from using book lines, and begin to think of themselves as masters of iconic one-lines. Littlefinger and Ramsay both show that off here. I have to think if they had written the Jaime/Brienne tub scene rather than Cogman, I have to wonder if it would have still ended on the note, “My name is Jaime.”

Bo: Considering their numerous changes to other lines, probably not.

Remember adaptation?

Bo: Good Guy Tyrion had to tell poor Sansa what’s happening, rather than spring it on her come the wedding day like everyone else.

Kylie: I’m still confused why that was off-screen. And why Tyrion was the one to spring the news, now that I think about it.

I hate hitting on this every week, but Olenna’s adaptation is just god-awful. Now we’ve progressed to her implying that Tywin had a gay experience because the Reach is so full of great allies?

Julia: I mentioned last week that that week’s Olenna content was the second worst example of her being the official negotiator of House Tyrell. Well, here is the prime example of that nonsense. Maybe it would have made sense if she was yelling at Mace about his negotiating strategy, but Tywin actually had a meeting with her to discuss official marriages. During which she insults him to his face several times.

What even is patriarchy?

Kylie: Meanwhile, up north, can you tell me who is the best rabbit skinner of them all?

Julia: There’s more than one way to skin a rabbit, Kylie. God, you’re so judgmental.

Bo: It’s hard to decide what they adapt worst at this point, but how they turned the Reach, the pinnacle of patriarchal medieval feudalism, into this anachronistic nightmare is beyond me. Did they just assume the entire Reach is like Renly since they followed him as king? I mean, Renly’s not even FROM the Reach.

And I know I bang this drum a lot, but holy hell do they miss the point with Littlefinger, and his climb speech is exhibit A. Petyr Baelish is not a man creating chaos for chaos’s sake, just to see what opportunities it creates. He deliberately causes havoc aimed at very specific goals. He doesn’t pit the Lannisters against the Starks just to see what comes of it. He does so with goals in mind regarding Cat, and then Sansa. Reducing his scheming to, “lol chaos” would make book Baelish scream.

Also, the irony of Brynden freaking Tully trying to threaten someone into marriage. It’s not completely against adaptation or anything, but it’s quite funny.

Musa: I have a serious bone to pick with the change from it being maybe Cersei who possibly ordered Mandon Moore to kill Tyrion to it being definitely Joffrey who did so. They just keep on doing this thing where they continue to give Tyrion additional sympathy points while simultaneously taking menace and agency away from Cersei to give it to Joffrey. It ruins pretty much all three characters overall.

Kylie: Well Musa, that brings us to…

Carol Watch: who is Cersei this week?

Kylie: Poor Carol has done her best with Joffrey, but he went and tried to kill Tyrion and then she had no choice but to cover for him! Also, she’s sharing in her misery with Tyrion and genuinely bonding about that. Yeah, we get some zingers like, “we could kill them” and calling Margaery a, “doe-eyed whore,” but we all know Carol has a bad bark.

Julia: Well, Carol’s character is hardly free of internalized patriarchy either. And who can blame her for being resentful of Marg, who’s flouting all the rules and getting rewarded for it, when Carol spent all those years trying to make her marriage work and be a good mother and was still screwed over for it. Indeed she still has her dad trading her like a baseball card.

Poor Carol.

Bo: She loves her family so much. It’s such a shame everyone tosses her aside when she just wants to protect them. How dare Tyrion question her about Mandon Moore? Lions need to stick to their pride.

Exposition Imposition: good or clunky?

Kylie: We learned that Jojen has seizures without anyone saying something, which is a good use of the visual medium. And I guess Sam explained highborn fire-lighting to Gilly. But in general, I’m just not remember a ton of exposition this episode. Which is probably more of a good thing than the alternative.

Bo: Yeah, the fact nothing immediately stood out as bad exposition means they at least did well here. Sam’s song also does a nice job establishing more about religion in Westeros. Thoros described his life and newfound faith quite naturally, and overall the conversation with Mel imparted knowledge about the red priests.

Kylie: Yeah! Good on you, D&D!

How was the pacing?

Julia: This whole season’s pacing is hilarious. I love how Littlefinger is still packing all his stuff six episodes in. And I’ve already mentioned how Cersei and Tyrion have had nothing to do.

Kylie: I feel like the people that actually have a full season’s worth aren’t in focus at all. Jaime and Brienne might be an exception, but the Night’s Watch, Jon’s new Wildling posse, even Bran and the Reeds (if they had wanted to bother building up characters) could have all benefited from more screen-time. It really is astounding how little happens each episode though.

Bo: Game of Thrones is so poorly planned. They clearly don’t have a plan beyond the current season being written. That’s how you end up with A Storm of Swords taking two seasons when it really shouldn’t have. They should have bitten the bullet and dove into A Feast for Crows and A Dance with Dragons in the last third of season 4. We’re supposed to buy the excuse that Feast and Dance would have been boring to adapt properly, though. We can’t have multiple episodes of characters doing nothing!

There was no sex, baby

Kylie: Just some torture porn with both Theon, and then Ros’s obviously sexualized death. Are we supposed to make something of the fact that Joffrey hit Ros in the same place Arya hit the strawman?

Bo: What is it with HBO shows and the taboo on men giving oral sex to a woman? Jon’s weirdness about it brought back bad memories of The Sopranos doing a whole plotline about Junior Soprano being good at going down on his girlfriend but not wanting anyone to know.

Julia: And what is their weird thing about gay men not being able to pull off political marriages? And this idea that, like, they find all women so…boring or something, that they can’t even have a conversation with them, even as just two people having a conversation.

I just remembered that the one thing Renly did say to Marg during their marriage is that he liked her dress.

Bo: They can’t even get their stereotypes correct. I thought gay men got along great with women since they have so much in common, but not straight men? Wouldn’t Loras and Sansa have a great time talking about gowns and weddings? I guess Sansa was too busy not being the least bit perceptive of people to notice.

Kylie: All I know is that as a bisexual, I have great conversations with everyone because of my sexual interest in 100% of humanity.

Julia: That’s why the Dornish are the best conversationalists.

In Memoriam…Ros

Julia: The real death was any faith I had left in this show.

Kylie: Oh snap.

Bo: It’s okay, Julia, you just need a good old-fashioned desperate resurrection to restore the corpse of your love for Game of Thrones. Just remember the old words they taught you.

Kylie: I think we’re dancing around Ros’s death because it’s just so transparently voyeuristic. And gross. We didn’t need it to characterize Littlefinger, or Joffrey, and it’s just more of that punish you for caring. Ros showed concern about Sansa, well NOPE. Their shock-chasing is of the, “oh no, how messed up!’ ilk, and this is a nice inception point.

Musa: Though overall, this episode seriously does a number on Game of Thrones‘s reputation as the show with lots of tits, dragons, and death. This episode barely had any of those things. So is it REALLY a real Game of Thrones episode, even?

Kylie: Not according to Ian McShane, though I’d say this can hang with the best of Season 6’s wheel-spinning clunkers.

However, it’s time for us to climb the ladder on out of this rewatch for now. We’ll be back next week for some bear pit shenanigans, but we’re curious to hear your thoughts on this week in the meanwhile. Again, we closed on King’s Landing. Is it just the bad taste in the mouth that keeps on giving? Tell is in the comments, and we wish you good fortune in The Wars to Come.


Images courtesy of HBO

Kylie is a Managing Editor at The Fandomentals on a mission to slay all the tropes. She has a penchant for complex familial dynamics and is easily pleased when authors include in-depth business details.

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MCB
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MCB

Ngl, I never minded the speech that much. It’s not a great speech and the weak metaphor is propped up by the score and the visuals, but it got across the general idea that Varys believes what he’s doing is for a higher purpose of order while Littlefinger is just in it for himself, which is true. You’re right that “chaos” isn’t the right word, though, and the writers thinking it was is a sign that they’re going to stop depicting LF as a master three-steps-ahead planner by season 5 and just have him…do stuff…and be horny for Sansa…and that’s… Read more »

Maidens and Mules
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Maidens and Mules

Harrenhal was the definite highlight. For the first time, we actually get to see Roose Bolton in all his creepy, barely controlled psychopathic glory. It’s like they realized that one of the story’s main villains and on of the chief architects of the Red Wedding had been a glorified extra up until this point, thanks in large part to them giving his earlier story to Kindly Grandpa Tywin, so they’d better play up his role. They get so much right about Jon and Ygritte, but so much wrong. The final shot of the two lovers kissing atop the Wall in… Read more »

Mytly
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Mytly

The whole ‘naming Loras to the Kingsguard’ threat is so ridiculous. People can’t be named to the Kingsguard against their will. Book!Loras voluntarily joined because (a) he was sincerely heartbroken over Renly’s death and didn’t think he would ever fall in love again, (b) he was a third son and so superfluous for dynastic purposes, and (c) he genuinely loved his sister and wanted to be around her to protect her from Joffrey. None of these things are true about Show!Loras. Well, maybe (c) is true, though we don’t see much evidence of it. But on the whole, Show!Loras has… Read more »

Chieroscuro
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Chieroscuro

Gah. Gendry & the Brotherhood. For this & the season 7 wight hunt nonsense, they cut Edric. It’s notable that this episode has ‘good of the realm’ Varys, and the Riverlands plot, while the show will ultimately cut both Aegon and Lady Stoneheart so that neither actually builds to anything. Also, once you’ve decided to go with a Shae that legitimately falls in love with Tyrion, why not play up the resentment towards his arranged marriage? She’s still gonna testify against him, and get murdered, so start it here when he marries Sansa, a girl Shae likes who clearly does… Read more »

MCB
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MCB

But that requires thinking about things more than one season in advance! You can’t expect that of them! /s In all seriousness, though, I always felt that the introduction of Aegon in the books was far too out of the blue and that the show actually had a chance to fix a legitimate flaw by giving some more hints ahead of time, again something they could have used the just-the-end-of-book-3 season 4 to do, but nah, just cut it all and make Varys a good guy rather than a boss battle for Dany, which is how we get the nonsense… Read more »

Ira
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Ira

Out of the blue? How so? I thought it was really belabored given the set up at Illyrio’s mansion, the really blatant drop about how the MALE LINE of the House Blackfyre was EXTINGUISHED. And then there’s this mysterious guy with dark blue eyes who’s been in hiding all his life and it’s like, well then. Then like ten chapters later Martin finally springs it and it’s like, cool?

MCB
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MCB

Yeah, but literally all of that was in book 5. Five books in, with only a single vision as foreshadowing, it’s a huge plot point to drop. I mean, it fits well and without it nothing Varys does makes sense (as the show has demonstrated), but there is a reason a lot of the fandom kind of went “what?” when it happened. I know that within the story Varys is playing his cards very close to his chest, but with the show allowing us ot have scenes of him alone the way the book could not, they could have dropped… Read more »

Analysis

Image Comics “DIE” is an Instant Dark Fantasy Masterpiece

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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

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Analysis

Conclusion to Stumbling Beginnings in Summer Knight

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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.)

In Conclusion

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.


 

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Analysis

Game of Thrones 3×10 Rewatch: Mediocre

Kylie

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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.”

Episode Recap

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?

Highlights/lowlights

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.

Remember adaptation?

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.


Images courtesy of HBO

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