The titles of
Game of Thrones episodes usually refer to the most climatic scene of the
episode. Usually. Not always. The High Sparrow fed the hungry and weak last
episode. The important aspect of his introduction was his neutrality, his
non-violent nature, contrasted with his murderous followers. “Sons of the
Harpy” had no sons of the harpy until the final seven minutes of the episode.
It’s an expertly crafted final minutes of the episode. Littlefinger told Sansa
about his memory of Ser Barristan and Rheagar dueling in the old days when Ned
and Robert still lived, when the Mad King reigned over the Seven Kingdoms, and
when Lyanna received winter roses from Rheagar. Barristan remembered those
days, too, when he spoke with Dany before meeting his valiant death. Ser
Barristan represents the last link of the old and dead past, the old and dead
ways as it were-the age of honorable Ned Stark. The sons of the harpy sneak,
deceive, corner, hide their faces behind masks, as part of an effort to return
their city to the old ways of fight pits and slavery. So, the sons continue to
win. They murdered every Unsullied except for Gray Worm, who may or may not
have died beside Barristan; they murdered Dany’s last link to her family’s
kingdom. Dany’s battle—and hell the entire battle for Westeros and
Essos—involves a clash between the old, the ideal, and the present. She locked
her dragons in a dungeon after a child’s father brought the child’s bones and
laid the bones at her feet. She wouldn’t use the dragons. The ideal for Dany is
granting freedom to slaves and punishing their oppressors. Ideals aren’t
practical. It worked, but it stopped working. Ser Barristan became the knight
he was during his fight with the sons. Dany’s next move is the only move left
for her to utilize.
Other Thoughts:
-My review
structure of the show has changed. Last week I wrote a paragraph. I felt tired
and not so good. I also had little insight/analysis/interpretation to offer. I dislike
writing recap-style reviews, though I have found myself summarizing not only
Game of Thrones episodes but also other episodes I’ve reviewed in the past. For
example, what’s there for me to write about Tommen, Margaery, and Cersei?
Besides several sentences of summarization, I might offer that the scene
between the Sparrows and Tommen revealed Tommen’s essential nature as ordinary
boy and king-he’s the opposite of Joffrey. He’ll learn and maybe change when he
understands the game his wife and mother play against one another. Beyond that,
I’ve nothing else.
Littlefinger,
that scamp, reveals his next master plan for the benefit of those watching at
home. Melisandre became very literal in her scene with Jon, the purpose of
which was to continue putting Jon between Castle Black and Winterfell. He felt
her left breast, denied her, and returned to business. The takeaway, perhaps,
is Jon’s conflicted expression after Melisandre quotes Ygritte. Perhaps he will
join Stannis in the fight for Castle Black.
The best scene
of the episode belonged to Stephen Dillance’s Stannis when he, in many words
and with unfeeling typical of him, told Shireen what he did for her when she
contracted greyscale, why he refused to let her die without trying to help,
when her mother would’ve. Stannis is a great character. His scenes may not pop
for the audience. He’s dry, stiff, unexciting, but he’s layered, full of
considerable depth, which the scene with Shireen showed. I’ll admit this
specific depiction of the character is rare and practically non-existent in the
show.
-I think it’s
best for me to write about Game of Thrones after the season concludes or not at
all. I re-read my review of last season’s penultimate episode and was astounded
by how empty and hollow it was, nothing more than a piss poor paraphrase. Sometimes
a particular scene will capture my imagination and engage me, such as the
climatic end of the tonight’s episode, and I’ll want to write about it;
however, my heart’s not into reviewing it anymore.
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