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Game of Thrones – “The Watchers On The Wall”

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“The Watchers On The Wall”

June 8, 2014

“Blackwater” was about convergence. It was the inevitable collision between Stannis’ claim to the throne and the Lannister powers controlling it. In truth, Stannis’ side of the battle was pretty thin, sketched in without a whole lot of detail beyond Davos and his son. It was really about how Stannis’ attack changed the power dynamics at King’s Landing, whether through Cersei’s steely resolve, Tyrion’s ingenuity and intelligence, or Joffrey’s cowardice. At a stage when this was still ostensibly a show with the Stark family as its protagonist, it was an early example of the richness of stories in King’s Landing, capable of carrying an entire episode on its own.

“The Watchers On The Wall” wants to be “Blackwater.” Neil Marshall has returned as director. Mance Rayder’s not dissimilar to Stannis, in terms of development at this stage in their respective narratives, an idea more than a person. We know characters on both sides. And like that episode, “The Watchers On The Wall” is exclusively focused on the attack on The Wall, eschewing other ongoing narratives in favor of the battle at hand.

The problem with this comparison is that I don’t know why I care about The Wall. Actually, that’s a lie: I know why I care about The Wall, which is the fact that I’ve known where this story is going from the beginning, and have been anticipating it playing out. But for those who aren’t book readers, this season has often struggled to make The Wall an integral part of this narrative. The season went through a lot of effort to flesh out the characterization. There was Jon’s attack on Craster’s Keep to keep the action quotient high and to build more content into the storyline to help delay the battle until the season’s climax. There was moving Gilly to Mole’s Town so she could offer perspective on the early phases of the attack. There was sticking with Ygritte and Tormund to preface the viciousness of the Thenns. And there was Ser Alliser and Janos Slynt conspiring to keep Jon Snow from preparing for the imminent attack in the proper fashion.

The problem is that none of this built momentum. It established the various players that are central to the battle, but it didn’t make it feel important, even though this is undoubtedly an important battle. It just paled in comparison to the immediacy of Tyrion’s plight, or the looseness of Arya and the Hound, or a range of other stories that were undoubtedly more dynamic. This doesn’t feel like the culmination of a season-long storyline. It feels like something that just got delayed, a logical climax to the season (and the book most of the season is based on) that required padding to land in this position.

The result is an episode that has to prove itself without the benefit of strong connections to the characters, or season-long storylines waiting for a climax. “The Watchers On The Wall” needs to be a self-starter, building anticipation for and delivering action that the episode’s pedigree has promised. And while a visceral piece of action filmmaking and a spectacle worthy of “Blackwater,” it proves less a climax so much as long-delayed rising action to finally bring The Wall into play in the season’s narrative.

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Season Finale: Game of Thrones – “Mhysa”

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“Mhysa”

June 9th, 2013

“Here only the family name matters.”

As Varys explains this fact to Shae, he’s being pragmatic: he’s trying to help someone whose very existence at King’s Landing threatens her own life and the life of the man she loves. Varys acknowledges that she has made Tyrion better. Varys acknowledges that hers is a true love. And yet Varys also gives her a collection of diamonds, telling her to sail to Pentos and start a new life for herself so that her love can do something good for Westeros without the threat of a single-named woman hanging over him.

It’s dark advice, advice that Shae refuses to take. Despite the fact that we just saw both Robb Stark and Talisa die for following true love over pragmatism, and despite the fact that Jon Snow just took three arrows from the woman he loves, Shae proves what many other characters have learned as well: there is still power in love even when all signs would suggest that trusting in such power will be your undoing.

“Mhysa” is about this love, which may seem strange in light of the fact that last week ended on such a foreboding sendoff for Robb and Catelyn Stark. And yet Game of Thrones needed a new motivation beyond ascending to the throne, a sense of purpose that could evolve beyond the War of the Five Kings and the deaths of Robert Baratheon and Ned Stark which set it off. What “Mhysa” seeks to accomplish is reframe the actions of its characters not as part of a larger power struggle, but rather as actions designed to protect their families or to protect the realm. This is not to say that we are to support the Lannisters’ cruelty or to endorse Melisandre’s sorcery, but rather that we can shift our understanding of their actions away from a part in a larger plot and instead toward what motivated them to take those steps in the first place.

It’s an enriching move that works to build a strong foundation for future seasons, although one that has some issues retroactively making some of the season’s storylines resonate in the way intended. “Mhysa” concludes a third season that was only retroactively revealed—for non-readers, at least—to be the season where Game of Thrones could no longer be simplified to a battle between the Starks of Winterfell and the Lannisters of Casterly Rock, one that did its job without necessarily connecting in the process.

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