Whenever there’s a wedding on Game of Thrones you know something terrible is going to happen, and the wedding of Sansa and Ramsay was certainly no exception. While I agreed with some of the criticism of last season’s scene featuring the rape of Cersei by Jaime, my criticism stemmed from the fact that it was a mostly unmotivated event that had no repercussions for the characters involved or their relationship. I completely agree with the sentiment that rape and sexual violence as a mere plot device is irresponsible, but I wholeheartedly disagree with the notion that any depiction of rape is inappropriate for the screen. To me, this line of thinking is akin to the argument that high school students shouldn’t read The Adventures of Huckleberry Finn because Mark Twain uses the word “nigger” in the text. Senator McCaskill is free to stop watching Game of Thrones, as is anyone else, but Game of Thrones is under no obligation to avoid depictions of certain behaviors and actions because they might possibly offend the sensibilities of certain audience members. Continue reading
Reek-it rhymes with week, which is about how long it took me to finish this episode because my six-month old puppy Fredo reacted and responded in kind and unceasingly to the dogs barking in the Winterfell kennel scene where Sansa is “reintroduced” to Theon/Reek. But when I could actually hear the soundtrack over little Fredo’s incessant barking, I really enjoyed this episode, especially the Winterfell content. I think Iwan Rheon gets Ramsay just right in the way that he’s threatening, odd, off-putting, and totally unhinged without being over the top and cartoonish. He goes right up to the line and stops exactly where he needs to.
As I attempt to suppress the dread I feel at the prospect of Grey Worm suffering a fatal wound at the hand of those repugnant and cowardly slavers, I’ll do my best to record a few more thoughts on what I thought was a really solid episode. Of all the great material this week, the highlight has to be that gorgeously moving scene between Stannis and his daughter Shireen. It’s the clearest glimpse we’ve had of the human side of one of the most austere and least compassionate figures in the series. This scene did a lot to highlight why I think Stephen Dillane was such a perfect choice to play Stannis in the first place because he’s got this underlying warmth under all the coldness he exudes. It was a great humanizing moment for his character and an exceptionally well-played scene. Continue reading
Game of Thrones shares something with Lost in that every episode is required viewing for a follower of the show, not necessarily because of plot developments, but because of character. To be sure, each episode of Game of Thrones features plot developments, as was the case with most Lost episodes, but the heart of the series in both cases is the various ways those developments affect the characters. Plot is meaningless without character in any case, but especially on series like these with ensembles this extensive. My point here is that with shows like these, there are no throwaway episodes; every installment is compulsory viewing if one is going to follow and experience the show in the most optimal way possible. Continue reading