An area of particular interest to me when it comes to contemplating and debating A Song of Ice and Fire from a political perspective is the idea of legitimacy, specifically in terms of from where and whom legitimacy is conferred onto leaders/rulers given that democracy isn’t exactly a realistic prospect in this narrative universe. As the field of contenders for control of Westeros has shortened over the course of the series, questions around legitimacy have come into sharp relief this season, especially now that Dany and her army have finally descended on the continent.
In the time between this writing and the airing of the Game of Thrones finale, I’ve had ample opportunity to argue with several people, and repeatedly so, about the conclusion of “Mother’s Mercy” and what it might possibly entail for the characters. Now, I love a good argument about narrative and there are few things in life I enjoy more than discussing Thrones, but unfortunately, all these arguments have almost completely distracted from what was not only a brilliantly executed and exquisitely played final sequence, but also a very strong episode featuring some of the best work of the series so far, albeit along side some more problematic material. Regardless, I left this finale with more to chew on as a viewer and consumer of the series than with almost any other episode. Every sequence held significance either for character, plot, Game of Thrones as a series in the grand scheme of television and the larger culture, or in a few cases, potentially all three. 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.
Let’s just get right into it. I always try not to read other pieces on Game of Thrones before finishing my own, but I couldn’t hide from the amount of stuff written about Jaime’s rape of Cersei. Before I begin in earnest, let me be very clear up front that I am not defending rape, the depiction of rape or the use of it as a narrative tool by media-arts producers. As for the latter, I reserve the right, as any viewer does, to question and deride whatsoever I please within any piece of work. I will not do so, however, for the sake of propriety, personal preference, or moral outrage. The works I find to be morally outrageous are those which are wantonly intellectually dishonest or somehow produced in bad faith; I do not find Game of Thrones the television series in particular or A Song of Ice In Fire in general to be such works. Continue reading