“First Of His Name”
May 4th, 2014
“I need to be more than that.”
There’s two characters that this week’s episode title refers to, even if only one is made explicit.
“First Of His Name” directly refers to Tommen, who is indeed the first King by that name to rule over Westeros. Tommen doesn’t actually do much in the hour, though, his fate a topic of conversation for those around him more than something he gets to decide on his own. Whether in Margaery’s conversation with her grandmother last week, or Margaery’s oh-so calculated performance with Cersei this week, or Cersei’s careful conversation with her father, Tommen’s future is very much a matter of procedure.
By comparison, however, Petyr Baelish makes his own procedure. There is no coronation for “Littlefinger,” as he operates in the slimy underbelly of the political underworld (yes, underworlds have underbellies). He comes from no strong lineage, with no family to support him or noble deeds to give him claim to glory, and so he has had to toil for everything he’s ever earned. He is the first of his name in a different way, in that he is the first member of his family to be Machiavellian enough to angle his way into a position of power, providing the foundation for a legacy of his own moving forward.
This balance between the self-made Littlefinger and the anointed Tommen sits on the periphery of an episode that functions as a highly logical mid-point of the season. And yet their respective paths are placed as guideposts for other characters who are faced with decisions that could lead them down one path or the other, depending on the choices they make in a moment of transition.
“Breaker of Chains”
April 20th, 2014
“I will not become a page in someone else’s history book.”
As is often the case with watching Game of Thrones as a book reader, I left “Breaker of Chains” with questions about how non-readers would receive the episode.
These are not simple evaluative questions like whether readers would enjoy this scene or that scene in the episode. Like most, it’s a compelling episode, with some fantastic scenes in the fallout of last week’s major events. Rather, they are questions of whether or not reveals that are obvious to readers—we know what’s about to happen—are anticipated by non-readers in the way the series would seem to be hoping for.
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.
“Garden of Bones”
April 22nd, 2012
“Too much pain will spoil the pleasure.”
One of my general criticisms for “Garden of Bones,” which is Vanessa Taylor’s first script credit on Game of Thrones after joining as a co-executive producer this season, it’s that choosing a pull quote was a bit too difficult. It was an episode filled with lines that felt like they were aiming too much towards broader thematic ideas, pulling me out of the moment and placing me into the head of the writer.
It doesn’t mean that the episode isn’t filled with a lot of great sequences, or that those lines aren’t evocative of key themes that are valuable to the series’ future. However, there’s something about the episode’s exposition that calls attention to itself: a rarely seen character emerges with new confidence early on so that his comeuppance later has relevance, a single character out of a larger group is awkwardly signaled out by his full name for no reason other than informing the viewer who he is, and another name is conveniently used in a conversation just as another character needs to learn it.
It’s not enough, as noted, to entirely derail the larger function of “Garden of Bones,” but there does come a point where an episode that begins with a Westerossi Meet Cute begins to flow less naturally, a point that this episode reached as the exposition burden of the early parts of the season seems to come to a head.
“You Win or You Die”
May 29th, 2011
“It’s the family name that lives on. It’s all that lives on.”
[You can also hear additional thoughts on this episode in a special edition of the Talking TV with Ryan and Ryan podcast that I participated in.]
[Also, for more on “Sexposition,” check out my review of Season 2, Episode 2, “The Night Lands”]
There has been a lot of conversation surrounding the question of exposition with Game of Thrones, understandable given the high volume of material that has been revealed through conversations in an effort to capture the complexity of George R.R. Martin’s world.
“You Win or You Die” is not particularly exposition heavy, although there is one example that I will break down in greater detail, but the function of exposition is to provide a sense of history and context and I would argue that this episode is very interested in this idea. Some have argued that flashbacks might be considered another way to provide insight into history, and that it would beat the somewhat sloppy exposition that has to this point been deployed, but I would ask this: is the point of exposition to inform or remind the audience of particular information, or is it designed to inform the audience that the particular information in question is, in fact, important enough to be discussed in this context?
The answer, as always, is that it is meant to function as both, but I think those decrying the very existence of exposition in its current form should consider the latter more carefully. The role of history within this world is an important theme that is highlighted in “You Win or You Die,” as various threads comes to a point where the past is either given new meaning or forgotten entirely.
Or, rather, forgotten in some circles and remembered in others.
“The Wolf and the Lion”
May 15th, 2011
“How long can hate hold a thing together?”
One could argue that Game of Thrones tells the story of two houses – this would be categorically untrue, especially given the ways in which the series expands in subsequent volumes (or seasons, considering its renewal), but the battle between the Lannisters and the Starks is obviously at the heart of this particular narrative. Even those who were fundamentally confused by the pilot, and perhaps even by subsequent episodes, were likely able to draw out that these two families are what one might term “a big deal.”
“The Wolf and the Lion” obviously makes this distinction clear, to the point that the story follows the two families almost exclusively – ignoring The Wall in its entirety, and foregoing a trip across the narrow sea, the episode narrows in on the mutual hatred which fuels these two families as they each try to go on with their lives as members of the other families attempt to either kill them or bring them to justice. And yet, at the same time, this narrowing is misleading on at least a few levels, given that this episode also delves a bit further into a few other houses which will become more important as a the series goes on.
In other words, despite technically being narrower in its focus, “The Wolf and the Lion” actually does some important work in broadening the scope of the series within these two particular areas. It’s a necessary step forward for the series, a strong statement for its commitment to the depth of this story.
May 1st, 2011
“I wanted to be here when you saw it for the first time.”
In the opening moments of “Winter is Coming,” we saw the Wall for the first time. Directly after the credits rolled, we first set eyes on Winterfell. Shortly thereafter, we visit King’s Landing for a brief moment as Cersei and Jaime discuss the secrets that may have died with Jon Arryn.
These were the first moments that we, as viewers, saw these pivotal locations in this series, but two of these were never formally introduced: Cersei and Jaime rode north to Winterfell soon after that conversation, and we saw only a brief glimpse of The Wall at the conclusion of “The Kingsroad.” Our focus was on Winterfell, and on the parties who set forth from its walls, and on Dany’s struggles across the narrow sea.
In “Lord Snow,” the Wall becomes more than an imposing structure, and King’s Landing becomes more than a geographical entity. The episode opens with Ned riding into King’s Landing and immediately finding himself in a meeting of the Small Council, while we are catapulted into Jon Snow’s first training session with Ser Allister Thorne without any glimpse of his initial arrival. There is no time to rest or become acclimated to their new surroundings, as life in King’s Landing and life at Castle Black hold a new set of challenges which will shape the episodes to follow.
And yet, “Lord Snow” is perhaps the most narratively uninteresting episode of the first six, almost like a second pilot where no story truly finds its footing. While the political organization of King’s Landing is sketched out, and the reality of being a brother of the Night’s Watch is well-established, the actual payoff for these events are left for the subsequent installments. Returning to this episode after having seen that which follows, I found myself appreciating what it accomplished without necessarily finding it satisfying, the first episode where the narrative feels limiting rather limited.