“What Is Dead May Never Die”
April 15th, 2012
“They are the knights of summer, and winter is coming.”
This central idea has been at the heart of Game of Thrones from the very beginning: the children we’ve come to know, and the younger characters who jostle for power, do not know the true struggles of both the actual winter (starvation, struggle) and the metaphorical winter (war, bloodshed) that await them in the future.
Unfortunately, almost all of these characters have been faced with this reality sooner than they anticipated, pushing characters like Sansa and Arya Stark, Theon Greyjoy, and Renly Baratheon into positions where they must reconcile their fears and insecurities with a path they might not have chosen if not for the circumstances. Their struggles, however, must remain largely personal: while Theon Greyjoy might struggle to decide between his two families, for example, he has no one on the Iron Islands to talk to but a single flame and a piece of parchment. When he chooses to burn what he’s written, he makes his decision by isolating himself and accepting that this is his burden to bear as his father’s son.
“What Is Dead May Never Die” is about exploring these kinds of relationships, and exploring really is the right word: although partnerships both begin and end in the episode, other scenes are more about the complicated politics of those partnerships as winter approaches. While the show is still at the point where plot remains on the backburner, the pieces moving into place no longer seem motivated by the whims of the script; characters are taking greater agency in this environment, and the result is a strong thematic piece which lays some important groundwork for characters both new and old.
April 24th, 2011
“You’re not supposed to be here.”
In chatting with one of my colleagues who has not read A Song of Ice and Fire earlier this month, he raised an interesting question: why, precisely, do some Stark children go to King’s Landing while others remain in Winterfell?
It was a question that never occurred to me while watching “The Kingsroad” since I already knew the answer before I popped in the screener, but it’s one that strikes me as important during these early episodes. There is no avoiding the fact that Game of Thrones has a dislocated narrative, with various locations (highlighted in the opening credit sequence) housing storylines that are often operating on their own frequency, and such dislocation risks feeling arbitrary. It is, arguably, the greatest challenge that Benioff and Weiss faced with the adaptation, and facing that challenge will require more than a clever title sequence that places the various locations into context.
“The Kingsroad” is the first stab at really tackling this challenge through thematic material, something that embraces the parallel storytelling that the series necessitates (as compared to the books, which go long stretches without visiting particular locations/characters). While the shifts in location were minimal (and very strategic) in “Winter is Coming,” with “The Kingsroad” we see a more traditional structure wherein we consistently shift from one location to another, a structure united by a growing sense that these characters may wish they had taken a different fork in the road.
It doesn’t quite bring the entire episode together, but the maps drawn for each of the show’s numerous storylines are at least all on the same piece of paper, and focus on the degree to which each individual character is prepared for the path that they have chosen (or that has been chosen for them).