Redemption arcs. They are so popular, I would almost dare to call them a trope. As Billy Flynn would say, ‘there is one thing people cannot resist, and that is a reformed sinner.’ It makes redemption arcs one of the most compelling narratives in any kind of media, and also one of the most popular ones. Whenever there is barely a hint of a chance at redemption, or even a redeeming factor in play, fans start imagining redemption stories even if the original media is not cooperating. But what is it that we usually get when we get them?
The Love Of A Good Woman
This is probably the most cliché option, and one of the most problematic ones. It was what people were worried about happening in The Last Jedi, and we all breathed a collective sigh of relief when it didn’t come. It is, simply, a story of how patient and unconditional love of a wholly good person – usually a woman – can turn the other person – usually a man – from their path of villainy.
The reason this is problematic is relatively obvious. It puts unreasonable demands on the “redeemer” in the pair. Until the villain is redeemed, the “good woman” normally has to bear his terrible character for a long time with angelic patience and nothing but forgiveness. It sends the message that this is what women in general should do. Also that if you let people abuse you long enough it will turn them good in the end. If you’ll forgive me this foray into the classics, The Tenant Of Wildfell Hall is the best example I know of exploring what exactly is wrong with this dynamic.
There are ways to make this work, though. In particular, it is when the “redeemer” merely provides the initial impetus and then doesn’t have to stick around for all the painful process of turning oneself into a decent person and bear it with angelic patience. They may or may not be then faced with the (almost) finished product at the end.
Think Pride and Prejudice – Elizabeth puts up with nothing from Mr. Darcy, he does most of his character growth out of our sight, and when we meet him again he treats her decently. Even when the ex-villain stays in the picture, though, this can be done well, as long as the redeemer isn’t asked to bear the first awkward attempts at becoming a better person with perfect equanimity and a smiling face. Simply put, the redemption must always be the work of the person redeeming themselves. The burden of it must not be put on anyone else.
I Need A Friend
This is a vastly popular strategy. In many ways it’s similar to the trope above, only in a healthier form. The focus is not so much on building up the redeemer. Instead, it’s on the traumatic events in the villain’s past. The key to this arc is having a good guy with a similar kind of traumatic or complicated background the bad guy has – enough that they can relate, at any rate – and then talking to them and giving them enough understanding that the villain stops feeling like villainy is their only option. The Expanse plays with this approach a little with Errinwright, even though it ultimately goes in a different direction.
The problem with that is the whole messy issue of villains with traumatic pasts. Because on one hand, people don’t just do bad things for no reason, but on another hand, the fashion of crafting this sort of villain background often seems to imply that all people with trauma in their past turn into villains. Which is obviously bullshit. In this kind of redemption, we’re directly faced with this question. Two people with the same, or similar, trauma, one turns to villainy and the other doesn’t. So then, there must have been some additional reason why Errinwright turned to villainy. And unless we deal with that, no amount of talking about the trauma is going to solve the situation entirely.
Don’t get me wrong, friendship absolutely is magic. But still, pretending it’s enough in itself to turn people completely around is a little naive even for me. Besides, in the world of real life implications, it seems to send the message that friends of any mass shooter should have just tried a little bit harder, because if they had, he would have never gone bad. Hell no to that.
Face the Consequences
Another popular way to jump-start redemption is having the villain face the consequences of their bad deeds, and being unable to accept them. The most obvious case of this would be Tony Stark, who finally saw first hand how the killing of innocents with his weapons can look like and realized he bore guilt for it.
But another example would be Severus Snape. His redemption certainly had aspects of “the love of a good woman” in it, but Lily wasn’t actually personally involved in any of that. The immediate inspiration was the possible consequences of Snape’s action to her, so it falls closer to this category.
This is a good way to write a convincing redemption story, as long as it’s viable that the villain in question wouldn’t have known the full consequences until then. By that, I mean it’s not convincing to have a person who regularly murders people with a knife suddenly look into the eyes of their victim and feel regret. They must have seen people die many times before. It works, however, for Stark, who had likely never seen death in person before. And it works for Snape as well in a different way. He knew he would never hurt Lily in person, and it didn’t occur to him that his Death Eater work could endanger her indirectly. The assumption behind this is simply that people are prone to lying to themselves about the consequences of their actions, which is an undeniable truth.
This approach also has the distinct advantage of working even on villains that are pretty far gone, if they are still redeemable at all. Except, you know, those knife-killers.
Changing Places/Losing Privilege
Another shock frequently capable of making villains change their ways is a radical change of their situation. Usually this is when when they find themselves in a position of vulnerability, frequently even in the position of those people they’d abused until then. This would be the case of Thor in the first film. Partly, it is also the case of Zuko in Avatar: The Last Airbender, since his long journey with his uncle outside of his royal privilege is a crucial part of his redemption arc. And much more convincing than Thor’s, by the way.
This is one of the more questionable options, psychology-vise. Because while it is certainly imaginable this might happen, it’s also very likely that losing privilege would only lead to more anger and vengefulness on the villain’s part. It works well enough, I suppose, with bad guys who aren’t truly malicious, like Thor. If arrogance rather than anger or inferiority complexes are the main driving point behind the “villainy”, it makes this story a bit more convincing. But then again, damaged pride can lead to anger just as well. Thor, when he couldn’t lift his hammer, decided to take it as a lesson. Many others would have lashed out in anger as a result of being denied what they see as their due.
In other words, this, too, has some implications for how the “villainous mind” is supposed to work. Generally, it presupposes a lack of self-reflection or lack of a very strong motivation. The character is chiefly going through the motions of what is expected of them or what they are used to or what their culture/situation shaped them into.
It also presupposes a fundamentally very sweet disposition and strong personality underneath, to be able to turn their life around in such a way when their circumstances change completely. Even leaving aside lashing out with anger, I think most of us would spend a long time dealing with their own issues after they had their rug pulled from under them in such a way. After a long period of time it can lead to change, perhaps, but unless enough of that is given, it just makes it look like people can immediately bounce back from anything. The real life implications here aren’t so bad, but still. We might laugh at the distress of the privileged, but it’s a real thing. It would be nice if the media we consume taught us to expect it. Perhaps we would be less surprised, then.
My Life Is Suddenly Pointless
This is a case of a villain suddenly finding themselves without the thing that has been driving them their whole life. The best case that comes to mind is Jaime in A Song of Ice and Fire. His redemption arc is a combination of many of the aforementioned ones. The love of a good woman as well as substantial loss of privilege play a crucial part. But none of this would have probably helped anything if his relationship with Cersei wasn’t falling apart at the same time. The final push he receives is finding out that Cersei has been unfaithful to him. Whatever we might think about a motivation like this, it has a profound effect on him.
This scenario resembles the previous one in how it presupposes that the villain is mostly influenced by external factors in their choice to do bad things. Remove the external factor, the bad behaviour disappears. As it stands in Jaime’s story, combined with other factors, it works.
On its own though, this, too, is a bit of a dubious path to redemption, because it tends to neglect that people act in patterns. Merely with the external motivation disappearing, but no positive one appearing, one would have no impetus to turn their life around. Not only would they not turn into an actual hero, but even achieving a kind of moral greyness would be difficult, because why not simply continue as they always did? I suppose the greyness could be achieved if the loss of their life’s motivation was so substantial that it threw then into the kind of depression and lethargy that prevented them from doing much of anything, but that’s about it.
Oh, and the other case where this would work, naturally, would be people who are doing bad things under duress. But I will never call those villains in my life, so there’s no space to discuss them here.
Wait, Why Am I Doing This Again?
This is closely related to the previously discussed point. Only in this case, the motivation is not a particular thing or person, but simply motivation in general. The villain spends years in their villainy, and slowly but surely, they stop seeing the point. Either they just get tired of the endless cycle of violence they are trapped in, or they take a good look at the sad and lonely life it led them to and decide that is not what they want to spend the rest of their days doing. This usually ends with some kind of moral greyness. Cardinal Richelieu has little moments like this in The Musketeers, though the narrative inevitably returns him to the villain he was doomed to be.
I won’t lie, this is one of my favourite ways to do redemption, because it is the only one that is entirely self-contained. It doesn’t necessitate an outside influence to pass. It trusts the ability of the villainous character to realize the error of their ways on their own, without being overbearingly self-flagellating.
This, however, also means it’s one of the hardest ways to write convincingly. Especially in shorter media like films, where there is usually not that much space. In fact, for this reason it can hardly ever be found in films. To be done properly and believably, it requires a longer time period for us to watch the progress of the villain, to see them motivated and full of anger at the beginning, and just going through the motions towards the end, and then reaching the point when they just cannot be bothered.
That point, too, needs to be well-crafted to be convincing. Perhaps there is a hitch in the evil plan that would require the villain to go to some extra effort, and suddenly they just cannot find it in themselves to do so, and leave the scheme unfinished instead. Perhaps it’s their birthday and they realize they have no one to celebrate it with and take a long, hard look at their life. All right, the latter would probably look rather ridiculous with a supervillain in a comics or a fantasy novel, but still, there are many scenarios like this than can be made workable.
The inherent danger, of course, is in rushing it and just making the villain look like an impatient toddler who couldn’t even see a single plan to its end. Not that there’s no fun in villains like that, but it’s hardly a redemption story.
Hold Up A Mirror
This, once more, can similar to the previous case, only this time with an external interference. There is someone else showing the villain the pointlessness of what they are doing, showing them what they have become. The most famous case of this would probably be Mr. Darcy in Pride and Prejudice, whose mirror is held up by Elisabeth, and what he sees in it shocks him. Anther, more recent case, would be Thor speaking to Loki in Thor: Ragnarok, showing him how stupidly predictable he became.
The problem with this approach is most succinctly summed up at the end of Witches Abroad. In short: it presupposes the villains don’t know, and they care. It’s of course possible in some cases, but we’re either working with a degree of innate goodness here that is repulsed by the fall, or – perhaps more frequently – with a degree of vanity that doesn’t like the image it’s presented with. And, well, is vanity really the best basis for redemption?
Sure, it can get the villain to change tack, but without being paired with something else, too, it can hardly lead to a true change of heart and behaviour.
My Life Has Meaning
This is something of an opposite to the “my life is pointless” option, because this is the villains finding their motivation. In particular, finding their motivation to do good.
In truth, the word “villain” is not quite accurate here, since this is usually used more for the morally grey types, and can in fact serve as a second step on the path from pure villainy. The most notorious example for this would probably be Han Solo, who found something he actually cared about in the Rebellion, and so he stayed and devoted his life to something more worthwhile than smuggling.
The issue here, of course, is when this is used for actual villains. Doing bad things – as in, actual, serious bad things – is not just a result of nothing better catching your interest, and it needs to be reflected somehow.
Another case applied more to the morally grey characters, or to characters where moral greyness is the goal, instead of actual goodness. This is a situation where a character is exposed to people with better morality than they themselves have, and by a sort of osmosis, they internalize this better behaviour, at least in part. Who comes to mind is Natasha Romanoff. SHIELD is hardly the paragon of virtue, but still, given her upset over the red in her ledger, there is some moral core in her that seems to have grown while part of that origination.
This, again, presupposes a rather significant underlying goodness, or a very long exposure. Having a character change by osmosis after a fortnight of time spent in the company of good guys is offensive both to the media consumers, and to real life people who ever spent time next to someone rather reprehensible for years without it having any effect.
Unexpected About Turn
The cases I have mentioned here are all ones that make sense, to a smaller or bigger degree. But of course, there is always the last option. The case where a character suddenly does an about-turn towards good behaviour, without any reason whatsoever. There are more cases than can be counted in the media, so as one for all, I’m going to name Theo from Teen Wolf, whose “redemption story” was one of the worst ones I’ve ever come across.
Every time I see a redemption story like this, I have to ask myself: why? There are so many ways to craft a good one. The best ones, in fact, usually combine several of these factors. Jaime, Zuko, even Snape. We might not consider them wholly redeemed, but at the very least we can clearly observe the change they go through. There is something exhilarating about it, and it makes one understand why redemption arcs are so popular. And why writing one badly is such a terrible waste.
Images courtesy of HBO, Marvel, Lucasfilm and SyFy
Game of Thrones 2×04 Rewatch: Garden of Groans
Good fortune and tidings as we return to The Wars to Come! We can’t wait to dive into yet another chapter of our Game of Thrones rewatch series, seeking to explore the path that took the show from engaging and competent to…wormholing ravens and confusing trials. This week we’re in for a special treat: the only woman to ever grace this show’s writers’ room, Vanessa Taylor, is credited as penning “Garden of Bones.”
Things are grim and grotesque in the riverlands! Robb earns himself a victory on the field against the Lannister forces, yet after the battle we see many injured. He helps a field-nurse from Volantis name Talisa amputate a man’s foot, and she points out to him that the smallfolk are the ones paying the price for his war.
Meanwhile, Arya, Gendry, Hot Pie, and their fellow travelers arrive at Harrenhal as prisoners, only to discover that the guards have been selecting one a day to die. They witness the torture of an unlucky man, who has a barrel containing a hungry rat strapped to his chest. He is asked questions about “the brotherhood,” but cannot answer any. The Lannister guards hold a torch to one end of the barrel, giving the rat only one place to go… Gendry is selected the next day for this grisly fate, but is saved just in the nick of time by Tywin Lannister’s arrival. He immediately chastises his guards for wasting good men, and once recognizing Arya as a girl, selects her to be his next cupbearer.
Down in King’s Landing, Joffrey is not behaving a whole lot better. First, he reacts to Robb’s military victory by ordering Sansa to be beaten by his kingsguard. Tyrion intervenes and put a stop to it, even giving Sansa a chance to ask out of her situation. However, she tells him she is loyal to her “love.” Bronn and Tyrion discuss Joffrey’s disgusting behavior, and Bronn suggests getting him some sex workers to work frustration out on. Tyrion does that, but Joffrey instead commands one of the sex workers—Ros—to brutalize the other as a message to Tyrion.
Tyrion receives another message from Lancel, who asks him to release Pycelle on Cersei’s behalf. However, Tyrion quickly turns the tables when he corners Lancel about being in a sexual relationship with Cersei. He promises not to tell anyone so long as Lancel reports to him on the queen’s comings and goings.
Other royalty is busy over in the Reach. Littlefinger arrives in Renly’s camp, but the self-fashioned king holds no love for him. Yet if the time should come when Renly reaches King’s Landing, Littlefinger makes it clear he’s willing to flip sides. He then meets Margaery Tyrell, who he attempts to grill on the details of her marriage to Renly. This queen doesn’t reveal much. Littlefinger finally gets to speak with Cat, who is furious with him. He does manage to present her with Ned’s bones, and slips in a lie about the Lannisters holding both Sansa and Arya.
Renly and Stannis treat with each other, and despite Cat trying to encourage them to get along as brothers, neither will step aside to acknowledge the other as king. Stannis tells Renly that he has one night to reconsider. Later, Stannis asks Davos to smuggle Melisandre for him. Turns out it’s so she can give birth to a shadow in the caves below Renly’s camp.
Finally in Essos, one of Dany’s bloodriders returns with a gift from the Elders of Qarth, called “The Thirteen.” Her party turns to head there, understanding that outside the walls are referred to as the “garden of bones” thanks to all the skeletons from those who had been turned away. She meets the Thirteen, and when she refuses to show them her dragons, nearly gets refused from the city herself. However one of the Thirteen, Xaro Xhoan Daxos, invokes “soumai,” vouching for her and taking legal responsibility for her party. The uncertain group head into the city.
What will greet them in Qarth? What is the shadow that Melisandre gave birth to? And is there gold hidden in the village? We’ll find out next week, but first…a discussion of what we saw.
Initial, quick reaction
Kylie: I had to triple check that this was written by Vanessa Taylor and not D&D. And yes, I know that it’s a writers’ room, and individual credit only goes so far, though I’d argue that with GoT, we can usually tell notable differences and the process comes across as more siloed than it does for other shows.
Still. The first half hour of this was easily as bad as Season 5, with a small exception that the words spoken in between the gay/fart jokes, the torture, the abuse of sex workers, and the gore were mostly shaped by George R.R. Martin’s prose. The best I can say is that the second half of the episode became moderately passable, albeit still lacking in the tension as discussed last week.
Julia: Yeah, this episode felt like it had all the worst aspects of GoT all shoved together, especially in the first half hour, and I came away with the feeling that I was just watching trash. A few ‘fros and bell bottoms and it could have been a 70s exploitation movie.
Even this rewatch write-up is so painful because I feel like I had nothing to say beyond, “god that sucked.” And explaining in detail why things are bad is kinda my thing!
Danzie: Lordy, what a pile of crap that was. I had blocked everything but the Stormland’s scenes from my memory. You really get the full GoT dumpster fire potpourri here, though. Juvenile humour, sexual violence, torture porn, disappearing and reappearing medieval patriarchy, hammy acting… the list goes on. It’s a handy little episode to use as evidence to back up the claim “Yes, this show really is that bad. No, I’m not overreacting, Shannon!”
I am going to use this gem to win so many arguments.
Griffin: All of this. It was gratuitous. Gratuitous and bad. I kept waiting for it all to end. I don’t even know what I’m supposed to say, or what was supposed to be appealing about this show after this.
Julia: Oh boy, oh boy. A highlight. The first thing that springs to mind is a little weird because it’s not usually me, but… I think I really liked Renly this episode? I’m a sucker for any time someone tells Littlefinger what a slimeball he is, and that ham line was genuinely clever and even a little funny. It’s painfully obvious how much more the writers like him compared to Stannis, but hey, maybe he’s not so bad?
As for a lowlight, um, everything else?
Griffin: I’d honestly have to go with the one singular moment that had me cracking up: cutting straight to the throne room with Joffrey aiming a crossbow down at Sansa. The framing of it was just so ridiculous and weird that it honestly looked like self-parody. The more they took it seriously in the scene, the funnier it got. What the hell was he going to do? Just start shooting people with a very slow to reload weapon and not expect to get gutted by, like, the third Kingsguard he cuts down?
As for lowlights, again, the crossbow. Really should have cut away from that “let’s mutilate some sex workers aren’t we trendy???” scene when he started screaming “harder”…and before he got the garden weasel looking thing out.
Kylie: My highlight was the burrito dress. I screamed and clapped. I wish I had a non-ironic highlight, but this is truly what warmed the cockles of my heart the most.
It’s so hard not to pick the Joffrey & sex workers scene as a lowlight, especially knowing what that “sets up” in Season 3. But there’s plenty to go around. The general levels of gore were really distressing for me, since I’m already not great with that. The Talisa cutting off a leg scene was one that I didn’t look at, but thank the gods her feminist candor was spoken clearly.
I don’t know—the protracted torture scene at Harrenhal? So glad we had a full five minutes of the guy we never met before getting eaten by a weasel. Do we think these Lannister folks are bad news, or something?
Julia: It was a rat, Kylie. God. Clearly all your criticisms are invalid now.
Danzie: One of my favorite chapters in the entire book series was (lucky for me) the only truly decent scene of the episode. Renly is at his best in the entire run of the show here. I’ve always said that I could watch Renly troll Stannis for hours and not get bored. It’s his social intelligence that I love about him. He understands exactly what it is that the masses love about him and hate about Stannis. I’d like to have seen the inclusion of the peach, and for him to have been unarmed, but other than that, yeah, this is peak Book!Renly.
However, my other Baratheon darling didn’t shine here like he does in the books, and that’s a shame. Loads of good personality things they lost out on here, like Stannis showing up to the parlay exactly on time and having to wait around for his self-centered little brother to finally feel like showing up. Also missing is Stannis promising Catelyn to try and reunite her with her daughters as soon as he is able. But most importantly what’s missing is Stannis’ guilt over killing his brother, an act that near mentally destroys him in the books. It’s minor stuff now, sure, but it’s things like this that go on to utterly destroy any chance at Stannis’ likability.
Lowlight: The shadow baby. Okay, I know there was loads of stuff that was worse in this episode, but I really feel like I need to point this out.
Davos rowing Mel ashore makes no goddamn sense under these circumstances.
The reason he does it in the books is because she is trying to kill Cortnay Penrose. However, because he’s inside Storm’s End (which has magical wards within its walls), Davos has to bring her in underneath the castle via his old smuggling run. It’s then that he puts two and two together about Renly’s death and she admits that Renly was much easier to kill because he was totally unprotected (from magic anyway) at his camp.
So why does she have to do this from shore? Why do we need to be in this tunnel? Where is this random tunnel? In fact, where even are we right now? The Reach? The Stormlands? Renly certainly isn’t in Storm’s End.
Julia: My random quibble: who were those 4 women following Sansa around and why do we never see them again?
Quality of writing
Kylie: I’m sorry, Vanessa, but the extended gay joke with a fart punchline is about as bad as it gets. Maybe I shouldn’t hyperfocus on it, but there was something about this episode that was so unrefined, that it comes across as utterly amateur.
Julia: Like I said in my initial reaction: it was just trashy this week. The “humor” was on par with the worst of seasons 5-7 and it revels in all the abuse and torture that’s going on.
Griffin: It kind of felt like an entirely different show to me. I mean, with the exception of that one episode Martin wrote, and to a lesser extent 2×01 (which was helped considerably by the fact that very little needed to be established, and they could just go) this show has never been written that well from my point of view. But still, this was a new level.
Danzie: There’s just not much that is salvagable here, and (all jokes aside) I’m someone that really tries to liberally give snaps to the stuff I like. In so many ways I think this was the first major warning sign of what was to come. I still prefer this to seasons 5-7, because at least at this point they still sort of care about telling a story, but damn. This is the first episode of this rewatch where I actually felt ashamed for liking this show once. It’s made me question my entire relationship with this show.
(This picture belongs in a museum, though.)
Our 8th grade book report (on themes)
Julia: Pass. Unless you count “everything sucks and aren’t we edgy.”
Griffin: How about, “Everything sucks and aren’t we edgy and also surprise feudal feminism!!!!”
Kylie: I love how those concepts seem like they shouldn’t go together at all, but they sort of represent the building blocks of this show.
Okay, I’m going to make an earnest attempt: everything comes with a cost. Talisa kind of delivers it to Robb in a neatly packaged thesis statement. Granted, this theme doesn’t really mean anything. The cost of Robb’s war was Sansa being brutalized, the cost of Tyrion sending sex workers to Joffrey were the sex workers being brutalized, the cost of the war in the riverlands were the brutalization of the prisoners…
Um. Typing that out, the theme was maybe just brutalization. And also the titular “garden of bones” didn’t really tie into this, because Dany didn’t get any sort of negative repercussions for violently threatening The Thirteen of ”Kwarth.” I guess the more central point of this episode is that…violence is a necessary part of this world? Which is more a feature, but damnit, Vanessa Taylor isn’t giving me much to work with.
Then we have the inserted ~feminism~ of Talisa, and I’m starting to suspect Ms. Taylor is not the world’s best sensitivity reader.
Julia: I think maybe the theme is “Damnit, Vanessa Taylor!”
Danzie: I want to somehow tie Renly’s line of “a man without friends is a man without power” to something. Robb makes a new friend in Talisa. Dany has trouble getting in to Qwarth (sic) because she doesn’t have a friend to vouch for her. Stannis’ power comes from his gal pal, Mel. Tyrion thinks Joffrey having some “adult friends” will help him chill out. LF wants to be friends with the cool kids, but they all tell him to fuck off.
The Garden of Bones is also a metaphor for friendship.
…okay, not really, but this episode broke me in a way I wasn’t expecting and quite honestly I’m just tired of trying.
Kylie: We are all bones in the garden now. The title fits!
Cracks in the plaster (the bullshit to come)
Julia: The cracks are just the plaster coming off the wall in sheets in this episode. The scene with Joff and the two sex workers is as bad as anything in season 5, and that rat torture scene is as bad as Theon in season 3 so… congrats, you’ve reached peak GoT.
Kylie: Then there’s also the worldbuilding. We discussed the magically disappearing patriarchy (in so many terms) with the sexually liberated Margaery last week as a crack. Well, Talisa is the fucking Kool-Aid man busting through. Julia and I have joked so many times about the “unchaperoned field nurse sass-talking a king” that the phrase almost means nothing to me, but…yeah, it’s a fucking high-born (I think?) woman walking around alone on a battlefield, sass-talking a king. The patriarchy is truly destroyed here.
Of course, it will magically reappear when there needs to be a justification for violence against women, or random bullshit like making Lyanna Mormont’s stand against socks seem very Progressive™. In my mind, this hole in the wall is everything that becomes wrong with Game of Thrones, because it certainly connects to the brutalization Julia just mentioned too.
Julia: Just, like… let’s think about this character for half a second.
She’s from Volantis. (Show-only peeps have no idea what that is, but it’s a giant city in Essos that has slavery and thinks highly of itself.) For reasons of being so sassy and feminist and ahead of her time, she decides that slavery is bad and that healing people is good. Okay. So then she thinks her best plan is to go to this fairly barbaric and benighted part of the world and be a field nurse. Like, was she already a traveling healer type around the riverlands and just thought this war was an excellent opportunity for more service? Did she hear about the war and come running from Essos? Her mastery of the Common Tongue suggests she’s been chilling there a while. Where did she get her supplies of opium and silk bandages? Is that family money she’s using to buy them, or does she have a local benefactor? Where did she gain this medical expertise?
Why do I suspect this is more thought put into this character than the writers had?
Danzie: I like to think that it was all a mailing error. Talisa was supposed to be the sassy new resident doctor on a medical drama but the character pitches got mixed up and now Grey’s Anatomy has a mild-mannered girl from the westerlands.
Kylie: Another crack in the plaster is the torture porn, which only gets more and more drawn out as the series goes on. Edginess is a distant horizon they’re constantly chasing, I guess.
Griffin: I remember Davos being a much, much more sympathetic and likeable character. Now he’s…just sort of there? I dunno, but he seems pretty one-note and flat to me so far. I’m pretty sure that Melisandre was supposed to be that in the books, so it works here (I guess?) but…that birthing scene. With the shadow.
I’ve seen some stupid things in my time, but I’ll admit that there was just no good way to shoot that. Seriously, I feel like that’s something that just was never going to translate well to the screen no matter what they did, since you can’t cut away from it or it doesn’t work. Maybe if they’d done the sequence more like a monster movie? That might work.
Kylie: The best I’ve ever seen a shadow of death translated was in the Charlton Heston movie The Ten Commandments. I think it was watching the literal squeezing out of the shadow that made it so odd. And it kinda gets a face next week…
Alright, I have to bring up Tough but Fair Grandpappy Tywin. Because he’s apparently so awesomely awesome and Fair that he will reward a random peasant girl for disguising herself as a boy. Yes, Tywin of the books wouldn’t have wasted working bodies on senseless torture. But the idea that he’d give a shit about any one of them, let alone enough to call Arya “smart” and select her as a personal cupbearer, is ridiculous.
Julia: I mean, it was really dumb of them to kill blacksmiths. Tough but Fair Grandpappy needs to be frugal; I would say why, but that would spoil the cleverest twist D&D ever pulled off.
It’s almost weird saying this, but so far they’ve done alright with Renly. And Stannis is still perfectly salvageable. Obviously the gay punchline stuff was horrible and out of place, but PLOT wise, it’s all pretty here? Like, Stannis has the best claim, legally speaking, but no one likes him. Renly’s claim is bull, but he’s popular. That’s minimally sufficient at least, which is more than we get in later seasons.
What do we think of the direction they’re going with Qwarth so far? It’s a change from the parade they threw her in the books.
Danzie: I dunno, but I thoroughly enjoyed the performance of whoever played the Spice King. He seemed to be the only actor who knew the ridiculousness of the show he was in. He was just having so much fun!
Julia: It’s a sense of awareness we won’t see on the screen until Ian McShane’s Ray in season 6.
Kylie: If I can seriously try to answer Julia’s question (though agreed about the Spice King), I think it’s part of D&D’s general misunderstanding that struggle is necessary in every facet of a journey to make any end triumph meaningful. Maybe this is thinking it through too much, but I’m just remembering the way the summarized Jon’s arc in Season 6 as, “well he began the season dead and now he’s king, so he’s doing well!” Keeping in mind they bend over backwards to aid Ramsay at every turn. It turns into “no one is nice to anyone anywhere,” and I honestly do think these are the beginning signs of it.
Or maybe they just didn’t want to spend money on a parade.
Carol Watch: who is Cersei this week?
Kylie: Poor Cersei/Carol, she was only mentioned this week. Sending Lancel to Tyrion could have been a move by either of them. So, I say we skip this section for this week.
Julia: Joffery’s actions do suggest Cersei’s parenting, though.
Kylie: Sure, even if the more Carol comes out, the less that much tracks.
Danzie: Another question is was it Carol or Cersei who commanded the Lancel sexytime? I wanna say Cersei, because Carol, as we know, wouldn’t dare sleep around on Larry.
Julia: Yeah, but Larry’s in jail and she’s SAD.
Exposition Imposition: good or clunky?
Kylie: Jorah got to explain Qwarth and the Garden of Bones! He must have been so happy!
Griffin: Yeah, that was like, literally all he did in the episode. I remember saying something along the lines that his description of the Garden of Bones isn’t really different from any other city with walls and gates. If they only had graveyards surrounding a massive city, with no suburbs, okay, that would be pretty freaky and one hell of an image, but…nope. Just a desert. Why not make it a point to mention sandstorms? Maybe they kick out prisoners or beggars or something into the sandstorm when it goes so they can die in the desert.
I think the rest of it was mostly fine; nothing really stands out to me as particularly egregious, though everything with Littlefinger was kinda “HEY LOOK AT ME I’M DOING THINGS!!!!”. I don’t know if that’s just who he is in the show, or silly. Is it both?
Kylie: He overstates the case a ton on the show, and is also the official expositor, so it’s kind of hard to tell where the character ends and contrived writing begins. I think it read fairly organically considering some of his other scenes, and it helped that both Renly and Cat were not about to give him the time of day.
Julia: Speaking of overstating the case, Dany. God she likes to yell about all the people she’s going to kill. I wouldn’t blame anyone who wrote off this character as an annoying, entitled asshole.
Danzie: Yeah, she really does just yell and stomp her feet… which I guess Xaro found charming? Because it’s only after this that he decides to let her in.
Julia: Ah, arbitrary laws and oaths based on cutting your hand with a sword. I was wondering when the blatant Orientalism would show up.
How was the pacing?
Julia: I think it’s pretty safe to say there were a few scenes that dragged on too long.
Kylie: Griffin is understating his reaction to this, I might want to point out. He was next to me yelling, “Why is this still going on?” in at least three different spots.
To say something vaguely nice (?) the second half of the episode moved a lot better. Or at least, I wasn’t viscerally uncomfortable and mentally begging the scenes to end in my mind.
Danzie: The actual script on paper was way shorter than other episodes. A big chunk of what made up the screen time was just people being beaten or tortured.
Let’s talk about sex, baby
Kylie: The sexworker scene was so horrible that I feel as if we’re not even willing to talk about it. Yes, Bronn suggesting Joffrey needs sex workers was in the books. Actually making us watch a scene of him ordering Ros to beat up her coworker while he sits and grins for as long as we did was just plain gross. We get it. We would have gotten it had the scene ended three minutes beforehand, too. We don’t need this insight for Joffrey, and it pushed into gratuitous somewhere around the belt smacking.
Danzie: The scene just flat out wasn’t needed. Joffrey is a monster, and as you said, we get it. We have tons of examples of it already. We don’t need a scene of Cruella de Vil drowning a cat to know she’s evil when literally all she does is try to kill puppies all movie long.
The only thing I can think of is that now we are supposed to feel even more terrified for Sansa? “Be worried that Joffrey will brutally rape Sansa, audience!” Good thing she eventually gets out of King’s Landing so she is safe from that sort of thing.
Kylie: Thank you, I’m mad all over again. Great analogy though.
The other sex was the off-screen Lancel and Cersei sex that Tyrion calls out. Lancel is like, clearly being coerced, right?
Griffin: Yeah, that sexworker scene, as I mentioned above—what even was that garden weasel thing? Half of a candle stick? Very disturbing and way, way, way too long
I’m pretty sure Lancel is supposed to be…are we supposed to sympathize with him for being coerced? I’m not totally sure that we are since Tyrion makes a point to explicate that Lancel clearly didn’t hate shtupping his sister. Doesn’t make it better, but it’s kind of hard to see the merit of that sequence aside from Tyrion being by far the most entertaining character on the show. Maybe it was just a showcase…?
Julia: I’m mean, it’s not rape if you enjoy it. Especially if you’re a teenager and she’s a hot 30-something.
What is there to say? I think the last time we saw sex between two people who liked each other and both wanted to be there was Ned and Cat cuddling in episode 1. Renly and Loras too, I suppose.
Kylie: Hey now, the ship captain’s daughter seemed to be fine fucking Theon. And his view on it was clearly free of issues…
In memoriam: 2 homophobic Lannister guards, 5 Lannister Men for Every 1 of Ours, random prisoner, and Stafford Lannister
Julia: Does Stafford Lannister count? He died off screen and we never even met him. I’m still not done mourning for those 2 homophobic guards, though. What a loss to the art of comedy.
Kylie: The site that has this list put him down, so he counts! But in terms of who we saw die, I guess the tortured prisoner eaten by a weasel was the most…effective? Which again, we did not need to see all of. We knew they were dying from the first scene with that old lady.
Talisa has sassy words to say about 5 Lannister Men for Every 1 of Ours. Death is bad! The smallfolk are the ones paying! I mean, she’s not wrong, but I’m kind of remembering when Weiss tried to get all deep after Shireen’s death, saying audiences were hypocritical for caring so much about that moment, but being okay with Stannis killing people in “Blackwater.” There’s a dang narrative, Talisa!
Honestly though, most of my annoyance there is that they’ll float the plight of the smallfolk as an edgy, messed up feature of the world, but then not bother to give their point of view any consideration.
Danzie: Silly Kylie. Sex workers and smallfolk are only there to get tortured and killed. Getting their perspective wouldn’t be dramatically satisfying.
Julia: That random old lady earned her SAG scale, though.
Wow, this is shorter than usual. We really hated this episode.
Kylie: No argument from me. But what about everyone in the comments? Was it really, truly this horrible? And what the hell, Vanessa Taylor? Let us know your thoughts, and next week we’ll get the good ol’ boys back as the writers, continuing The Wars to Come.
Images courtesy of HBO
Tragedy in Lady Knight
The dedication to Lady Knight reads “To the people of New York City, I always knew the great sacrifice and kindness my neighbors are capable of, but now the rest of the country knows, too.” It’s a somber beginning to a book about the tragedy of war. Obviously, it talks about the events of 9/11, and the book was published in 2002, barely a year afterwards. It’s the grimmest of Pierce’s books so far, but like the dedication, it also shows the most kindness.
Spoilers for Pierces previous work. Warnings for mentions of abuse and the murder of children.
Friendship in a Time of Blood and Ice Cream
Edgar Wright’s Blood and Ice Cream trilogy, also known as the Cornetto trilogy, is a trio of movies that stand in a league of their own. Each movie is its own story and any of the three could stand on its own without the others. Yet they’re all linked by their craftsmanship, themes and, of course, Cornetto. They’re all top class comedies, while also being well-executed character-driven action movies. Shaun of the Dead, Hot Fuzz and The World’s End each focus on the friendship between their protagonist and deuteragonist (each time portrayed by Simon Pegg and Nick Frost respectively). They delve into the deeps of friendship and the aspects, both negative and positive, that can exists in relationships.
It’s not you, it’s the Zombies
Before the zombie apocalypse, Shaun was living aimlessly, while Ed, his best friend, loafed around on his couch playing video games all day. Shaun had a serviceable job, a stable relationship with a girl he loves, good friends, and pub to go at the end of the day. He was hardly living a full life, but he was living. Sure, he had plans for the future—get a better job, commit more to his relationship, and get Ed off his couch—but he never acted on them. He made promises to his girlfriend that he’d do better, but had no follow through. When anyone pointed out that Ed was a hindrance to him, Shaun would always defend his friend.
Ed’s antipathy to development is even worse than Shaun’s. He doesn’t have many expectations for himself. Instead, he’s content to let Shaun defend him while he plays games and does a whole lot of nothing. Ed only helped keep Shaun stagnate.
Everything changed when they found zombies in their backyard. It takes the z-word to get Shaun to act on his plans. With the undead knocking at the doors, he firmly decides what’s important to him and sets out to protect it. He finds not only is he good with the follow through, he naturally assumes the leadership role, adjusting quickly on the fly to keep his friends and family safe when their lives are on the line. When disaster strikes, he makes decisions no one should ever have to make, zombie apocalypse or not.
And Ed, well, actually, Ed doesn’t change all that much. He’s more interested in getting to drive the cool car than he is about the zombies in the street. In the few minutes, Shaun takes to get his mom and stepdad he manages to crash the car. When they’re surrounded by a horde he nonchalantly takes a call (from a guy he occasionally sells drugs too).
Shaun’s willing to forgive and ignore Ed’s apathy until this moment. It takes the world ending and their lives at stake to Shaun to finally confront his friend. The apocalypse becomes the catalyst that pushes Shaun to making decisions. One of those decisions is letting go of a friendship that had been holding him back.
But it’s not all sad; Shaun gets the girl and still finds time to play games with Ed occasionally.
They’re not Bad Boys
Nicolas Angel is kind of cop who’s good at his job. Every part of his job, including the paperwork, but everything else in his life suffers. He breaks up with his girlfriend. The other officers are all too happy to get rid of him because he makes them look bad by comparison. The only constant in his life before moving to Sandford is his Japanese Peace Lily.
Danny, on the other hand, is the kind of cop who never had to be good at his job. He lived his whole life in a small village where the most work the cops had to do was deal with ‘accidents.’ His father is the inspector. Everything he learnt about his job was from action cop movies.
Friendship in Hot Fuzz goes in a different direction. Nicolas and Danny aren’t the lifelong friends Shaun and Ed were. In fact, a drunk Danny almost runs overs Nicolas when they first meet. Danny actually learns what it means to be a cop from Nicolas. Nicolas learns there’s more to life than the service and there’s more to service than enforcing every law. For Nicolas, Danny becomes the person he cares about more than the job.
By learning more about Sandford from Danny, Nicolas becomes more willing to let smaller infractions go when working to keep the greater peace. By the climax, he even enlists the help of some vandals he’d been suspicious of on his first night in the village. Danny, on the other hand, learns that being a cop isn’t about the big action shootouts, and even when the big action shootout happens, he and Nicolas fight their way out while only using non-lethal takedowns. In this view of friendship, each one makes each other a better cop and a better person.
The Crowning Glory of the End of the World
Gary King is the king in his mind and every king needs a court. For Gary, his court is made up of his friends or, to be more accurate, his enablers. Like so many, Gary found his adulthood paling in comparison to the glory of his youth and has been trying to regain that feeling. The height of his youth had been trying to conquer the Golden Mile, a twelve pub crawl with four of his best friends. They never finished the Mile, but that night still left a mark on Gary. For him, it never got better and that’s where the problems start.
He keeps searching for that same high in the substance he linked with the first: alcohol. Never finding it, he makes one last ditch attempt to regain his crown by reclaiming the Golden Mile and finishing what they’d started all those years ago. He rounds up his old friends, who have all grown up and progressed in their own ways. Among them is Andy Knightley, who used to be Gary’s right hand but has been sober since the very night Gary is trying to reclaim.
Amidst the discovery that their hometown has become a hub of alien activity, Andy learns just how deep Gary’s addiction goes. Of the Blood and Ice Cream trilogy, Gary King is the most tragic protagonist. His addiction sends him on a dark spiral. Even as he tries to regain his youth with his friends, he keeps them at distance emotionally. He thinks he needs drinking buddies more than he needs true friends who will help him.
Gary’s inability to say no to a drink inevitably leads to the World’s End, both the name of a bar and the actual end of the world. But when he hits rock bottom and realizes Andy was willing to follow him there for his sake, that’s when he finds the strength to stop living in the past.
Be it the heartbreak of losing good friends, the surprise of finding friendship in the unlikeliest of persons or wanting to help a friend who’s not ready to help themselves, the Blood and Ice Cream trilogy portrays the complexities of platonic relationships. Best of all, it shows how they evolve as we grow and change.
Images courtesy of Universal Pictures.
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