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Game of Thrones – “The Ghosts of Harrenhal”

“The Ghosts of Harrenhal”

April 29th, 2012

“I still can’t believe that you’re real.”

Perhaps it’s my relatively unromantic disposition, but I’ve never really considered love in the context of Game of Thrones. It’s obviously part of Martin’s books, but it’s so often quashed, or forbidden, or broken, that it’s hard to identify it as one of the key themes (or even as a theme in some instances). However, as I noted in last week’s review, the introduction of Robb’s love interest reminded us that romance and desire are not entirely foreign concepts within the framework of this story.

However, as “The Ghosts of Harrenhal” observes (and as we’ll see continue into next week’s episode as well), that love is rarely consummated. Sam speaks of Gilly in hypotheticals, in love with a memory more than a real person, while Jorah’s love for Dany (captured in the quote above) makes both of them uncomfortable, an unspoken reality they dare not bring to the surface lest it shatter their existing relationship. In other words, their love remains unromantic out of fear of what romantic love would look like, relying instead on the love you have for a brother or a sister or for your King. It’s this love that ultimately threads through “The Ghosts of Harrenhal,” and the season at large, and it’s a love that may be equally tenuous depending on its object.

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Game of Thrones – “Garden of Bones”

“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.

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