May 19th, 2013
“I always have a choice.”
“Second Sons” opens with a choice. Arya wakes up to discover that her captor has fallen asleep, and picks up a rock with which she intends to kill Sandor Clegane, a man she believes to be taking her back to King’s Landing. However, as she grows closer, it turns out the Hound isn’t sleeping at all, and he gives her a choice: she can put the rock down, or she can take one shot at killing him with it. The catch is that, should she choose the second option and the Hound remains alive, he’ll break both of her hands.
It’s not really a choice when you think about it, as Arya’s trust in her own strength isn’t quite enough to make her hands worth the risk. It’s also not much of a choice given that she’s his captive, even if he intends to take her to Robb and Catelyn on the Twins as opposed to taking her to King’s Landing and the Lannisters. As much as Arya struggles against the place in life that was determined for her, and as much as she tried last week to go back to the independence she craves, she still finds herself in a position where choices are not available to her.
It’s far from a complicated theme, but what I like about “Second Sons” is the resignation of it all. Arya sitting on the Hound’s lap as he rides toward the Twins is an evocative image, both because of the beautiful countryside mirroring Arya’s hope at seeing her family and because she’s not bound or tortured or anything of the kind. Rather, she’s accepted her fate as the fate put before her, and will comply if only because it’s the most effective way to survive until the day where you have choices you did not have before.
It’s a position that comes to bear on many episodes as the season goes on, as characters struggle with the lack of agency that comes naturally with being born—or being treated—as a second son.
May 5th, 2013
“If you think this has a happy ending, you haven’t been paying attention.”
“The Climb” begins with three groups of characters who share a common goal: reaching The Wall. While Jon and Ygritte are with the wildlings as they prepare to scale it, Bran and Sam are moving toward the Wall from opposite directions.
For viewers, The Wall has been a prominent object for the series, one of the first images we saw to introduce a sense of the scale of Westeros. It’s a prominent part of the credits, sure, but it was also key to the series’ prologue. When Jon Snow saw the Wall for the first time, it was a formative moment for the character, just as it’s foretold as a prominent moment for Gilly, who can’t even imagine the stories Sam tells her about the structure. It’s something so large that it persists even for those who have never laid eyes on it, something that holds power even when the vast majority of its expanse lies unguarded. The Night’s Watch may be in charge of protecting the Wall, but the Wall does most of the protecting itself, a single crack in the ice capable of nearly killing the entirety of the Wildling party.
The “Game of Thrones” would be difficult enough if its only threat were static obstacles like The Wall (or the threat of the White Walkers beyond it, which is ostensibly still the most prominent threat to the entirety of Westeros). But “The Climb” isn’t a solitary activity, something that you can survive on your own: there’s always someone there to cut your rope, or stand in your way, or give your life new—often less—meaning at the drop of a hat. With its central metaphor, “The Climb” reminds us that no climb is without the threat of not simply missing a foothold but someone doing everything in their power to make sure that no foothold even exists, a dark and often foreboding episode that despite closing on a hopeful moment offers little evidence of hopefulness overall.
“And Now His Watch Is Ended”
April 21st, 2013
“Influence is largely a matter of patience.”
As Olenna Tyrell sits in her garden at King’s Landing, she schools one of her young charges on the silliness of the House Tyrell words. “Growing strong,” she argues, lacks any of the strength associated with “Winter is coming” or “We do not sow”; the golden rose, meanwhile, certainly doesn’t strike fear in the way the direwolf or the kraken might.
And while Olenna is willfully eliding the thorns of which she is queen, and the way we could see Margaery’s growing power in King’s Landing as evidence of the sigil’s representativeness, I also think there’s something about Game of Thrones’ approach to storytelling here. This is a show where stories don’t always progress like direwolves or krakens, often growing incrementally on a week-by-week basis. Watching the show, you sort of have to take the Tyrell words as your motto: if you give stories time to grow, you may well be rewarded.
“And Now His Watch Is Ended” concludes on one of the series’ best sequences, Daenerys’ overthrow of the slavers of Astapor and her triumphant freeing of the Unsullied. It’s incredibly satisfying, perhaps impressively so given that it is told through a grand total of four scenes over the first three episodes. It’s a unique story structure for the series, as it really lacks any relationship to other ongoing storylines: while Joffrey’s talk of Targaryens certainly reminds us of Dany’s claim to Westeros, her actual storyline has to serve as its own engine. This isn’t a new phenomenon for Dany, but this is the most effectively her storyline has been managed, in part because the four scenes we get are paced extraordinarily well.
It’s a model the show would do well to follow, and one the show will have to navigate at least once more this season.
“Walk of Punishment”
April 14th, 2013
“A person could almost be forgiven for forgetting we’re at war.”
“Walk of Punishment” opens with something of a comedy routine. Edmure Tully is attempting to send his father off to the afterlife with a flaming arrow, but the arrow misses. And then misses again. And then misses again. It’s only then that his uncle, the Blackfish, steps in to fire the arrow necessary. Edmure is made to look the fool, the Blackfish is made to look like a man who suffers no such characters, and our first glimpse of Riverrun has served its function, in part, through comedy.
Of course, it’s also a funeral, which makes its comedy somewhat dark. It helps that we don’t actually know much about Hoster Tully, a character in the books and more of a symbol in the series. It also helps that the scene works the joke perfectly: I resisted laughter on the first miss, found it on the second, and felt the tragedy sneak back in on the third. The scene never feels at odds with the moment or the episode around it except when it’s supposed to feel like it’s at odds with the moment because, well, it is. A world of war and tragedy is not a world without comedy, but rather a world where comedy is rarely allowed to continue unabated for very long.
Catelyn’s quote above, spoken to the Blackfish, captures Benioff and Weiss’ approach to lightening the mood in Westeros. At any given point, there are characters in situations where they could forget about the gravity at hand, where the inherent humor of human interaction overwhelms the threat of widespread conflict. Sometimes it’s Talisa tending to two young captives, wanting to keep them from thinking about the world around them; sometimes its Tyrion wanting to give Podrick a gift for his loyal service. And in a previous time it was Jaime and Brienne, alone on the road, bantering their way toward King’s Landing.
But banter, like all men, must die.
“Dark Wings, Dark Words”
April 6th, 2013
“I try to know as many people as I can. You never know which one you’ll need.”
When HBO’s decision to order Game of Thrones to pilot was first announced, I went back and began rereading the books in preparation. At the time, I wrote a piece thinking about how the structure of the books—specifically the chapters told from specific characters’ points-of-view—would prove a challenge, but how there remained thematic through-lines that could be capitalized upon.
More recently, Benioff and Weiss have said that they aren’t structuring the show around themes, suggesting they’re for grade school book reports. It’s a silly comment, and I will continue to remark upon clear themes that run through both the series and the novels on which that series is based, but I do think that they’re right on one point: this is not, primarily, structured as a thematic story. And yet, given the fact that the narrative has become dispersed from a clearly outlined conflict—the War of the Five Kings—into a scattered collection of individual narratives, a question is raised: how exactly is the show being structured?
To suggest that Game of Thrones is a character-driven show is not exactly groundbreaking, but I was struck during “Dark Wings, Dark Words” how the show is actually organized by character. In thinking about some of my pre-air thoughts regarding how audiences might respond to some characters better than others, I watched the episode thinking through one primary question: who is this scene about? While the fragmentation of the narrative means that no single episode will be about one single person, the focus of a given scene nonetheless often falls to a single character, and not always the character we might presume it to be. And while there is a collection of new characters introduced in this week’s episode, none of them feel like their scenes were about them so much as the existing characters they were meeting. At the same time, meanwhile, some characters whose existence was once defined by their support of other characters have become subjects of their own storylines, even if their role within the larger narrative hasn’t necessarily changed.
March 31st, 2013
“You’ve got to invent a story about where the ship is going and why.”
As Sansa and Shae look out on Blackwater Bay imagining where the ships are going, it’s hard not to think about the last time we as an audience watched the ships on Blackwater Bay. “Blackwater” brought a striking amount of clarity to the show, its tight focus clearly defining where the ships were going: Stannis Baratheon intended to take King’s Landing, because he believes himself to be the one true king of Westeros.
As Game of Thrones returns for its third season, such clarity seems long gone. As Robb notes, his men haven’t had a real battle in weeks, their “war” more of a glacial march in search of Lannister men more likely to “raze and run” than fight in the open battlefield. Stannis has retreated to Dragonstone to burn men alive in sacrifice to Melisandre’s lord of light, in hopes they will provide a path forward. Westeros is still at war, that much is certain, but the terms of that warfare are as muddled as they’ve ever been: much as the Narrow Sea separates Daenerys from her place on the Iron Throne, the other would-be Kings are equally unable to directly and openly lay claim to the title.
And yet they keep moving. Indeed, outside of those who remain at King’s Landing, nearly every character or group of characters are on the move, although it’s not always clear where they’re moving to precisely. “Valar Dohaeris” might reintroduce us to a collection of the show’s characters, but it’s an introduction that mostly finds characters exactly where they were before. The result is a premiere that lacks excitement not because things don’t happen, but rather because there’s little new information to hint toward what will happen next, relying on more general anticipation—often, to Sansa’s game above, of the viewer’s invention—as the narrative moves at its own pace.