Game of Thrones Season Five reviews are supported by my backers on Patreon. We crossed $300 this week, so I’ll be doing the whole season. Assuming, you know, that nobody backs out or anything. There’s a new milestone at $310, however, for a bonus post on the episode leaks of Doctor Who Season Seven. Which might be interesting to Game of Thrones fans as well, all things considered.
State of Play
The choir goes off. The board is laid out thusly.
The Lion, Tyrion Lannister
Lions of King’s Landing: Cersei Lannister, Tommen Baratheon
Direwolves of the Wall: Jon Snow
Mockingbirds of Moat Cailin: Petyr Baelish
Roses of King’s Landing: Margery Tyrell
Burning Hearts of the Wall: Stannis Baratheon
Ships of the Wall: Davos Seaworth
The Spider, Lord Varys
Kraken of Winterfell: Reek
Direwolves of Moat Cailin: Sansa Stark
Direwolves of Braavos: Arya Stark
Archers of the Wall: Samwell Tarly
Shields of Moat Cailin: Brienne of Tarth
Coins of Braavos: No one
Flayed Men of Winterfell: Roose Bolton, Ramsey Bolton
With the Bear, Jorah Mormont
Meereen is vacant.
The episode is in eleven parts. The first part is three minutes long and is set in Braavos. The opening image is of one of the many statues of gods’ faces in the House of Black and White.
The second is seven minutes long and is set in King’s Landing. The transition is by hard cut, from Arya to an establishing shot of the city.
The third is three minutes long and is set in Winterfell. The transition is by hard cut, from Cersei looking angry to Bolton men outside
The fourth is nine minutes long and is set at Moat Cailin. The transition is by dialogue, from Roose Bolton talking about Ramsey’s forthcoming marriage to Sansa, his bride-to-be.
The fifth is four minutes long and is set on the Wall. The transition is by dialogue, from Brienne talking about Stannis to Stannis.
The sixth is six minutes long and is set in Braavos. The transition is by family, from Jon Snow to Arya Stark.
The seventh is two minutes long and is set in Winterfell. The transition is by family, from Arya to Sansa.
The eighth is five minutes long and is set on the Wall. The transition is by family, from Sansa to Jon Snow.
The ninth is seven minutes long and is set in King’s Landing. The transition is by image, from the ritual of execution for Janos Slynt to the High Septon’s ritualistic sex game.
The tenth is three minutes long and is set in Winterfell. The transition is by causation, from Qyburn writing a message for Littlefinger to the scene where he receives it.
The eleventh is seven minutes long and is set in Volantis. The transition is by hard cut, from Littlefinger to an establishing shot of Tyrion and Varys’s cart outside the city. The final shot is of Jorah Mormont capturing Tyrion Lannister.
There is not quite such a thing as a default pattern for Game of Thrones, simply because the show’s basic function depends so heavily on breaking the pattern – for instance, by putting the Purple Wedding in the second episode of the fourth season, thus defying expectations about the speed at which a season gets off to a start. But if you were to suggest a generalized pattern for a season, the third episode would be a point of drastic acceleration.
Certainly that is the case here. Most obviously, the hinted becomes actual as we realize that Sansa is going to be taking on the Jeyne Poole plot from the books and marry Ramsey Bolton. This is the marquee change, and one that is easy to see doing poorly, but certainly possible to see doing amazingly. The obvious peril is that it’s a rehash of Sansa and Joffrey. We’ve seen Sansa and a sadistic husband with power over her before. What we haven’t seen, though, is Sansa doing this from a position of power, in Winterfell. The random servant who whispers to her that the North remembers makes it clear that this is not King’s Landing, and Ramsey is presented, in a real sense, as hopelessly out of his depth, only knowing one tactic (flay people). If this is the story we’re doing, and Sansa is going to be the self-rescuing princess, well, that’s really tempting.
And certainly the number of extra layers involved is tempting. Sansa as the self-rescuing princess endangered by Ramsey and the Boltons around her as Stannis sieges Winterfell and Brienne lurks about the edges of the story looking for an opportunity to kill Stannis is… absolutely fantastic television. Not least because for the first time in Game of Thrones nobody can say with any confidence how that set of elements is going to interact and play out.
Elsewhere the plots proceed more book-predictably, but in every case there’s a sense of a show that’s finally starting to enjoy the potential of its premises. Arya is, I think, the plot that works least well this episode – simply put, she’s not really given much to do, instead suffering the common fate of Game of Thrones characters whereby they are suddenly deserted by all of their competence so as to make sure they don’t accidentally advance the plot. (The lowlight here is surely Arya asking which of the many faces in the House of Black and White is the Many-Faced God. Really, Arya?) But even here there’s a moment of genuine beauty in her inability to throw away Needle and her hiding of it. Not only does it set up the inevitable moment of her reclaiming it (and it’s safe to say that there has never been a scene of Arya reclaiming Needle that has not been wonderful), but it captures the conflict and plot driving her character perfectly in a single image.
The Wall is similarly full of good images: The Jon Snow/Janos Slynt execution is both a fun scene (the cut back to Jon finishing his ale before he goes out is hilarious) and one that sells the fun of “Jon Snow as Lord Commander.” But I actually prefer the scene of him telling Stannis that he’s grooming his page for command, all earnest and confident, simply because Stephen Dillane is secretly a brilliant comic actor.
And, of course, there’s Cersei in King’s Landing. Her scene with Margery, in which Margery throws masterful shade (“it’s a little early for us” indeed), is a thing of absolute beauty – probably the single best sequence in the story. But so is her follow-up – her spectacularly ill-advised alliance with the High Sparrow, which the show doesn’t belabor the idiocy of, instead simply depicting her actions and letting the audience pick up on the sheer folly of them. (Contrast with Littlefinger, where the show contrives to have him interact directly with his obvious mistake, admitting that he doesn’t know much about Ramsey Bolton to his face.) This is, thus far, the plot with the least said and the most shades of subtlety, mostly to its strength.
I have, obviously, left Tyrion out of the mix so far, mainly to set up a nice sort of structural thing where I open and close talking about the use of the unknown. Tyrion’s plot was heavily altered in the first episode via the excising of an ill-advised subplot about an obviously fake Aegon Targaryen. And this, in turn, called into some doubt over where it would go from there. So the use of Jorah to suddenly take the plot back towards the book is clever. For those who haven’t read the books – i.e. essentially the entire audience – it’s a great game-changing twist of the sort that makes good cliffhangers. But it manages to be surprising for those who have as well, simply because the show has by this point engineered circumstances where fealty to the books is a form of surprise. Which is, again, a terribly exciting place to be.
So on the whole, by some margin the best episode of the season so far, simply because it’s the first one to move past setup and into demonstrating the appeal of this particular configuration of the board.
Shall we start ranking episodes? It was fun for Doctor Who.
1. High Sparrow
2. The Wars to Come
3. The House of Black and White
April 26, 2015 @ 11:30 pm
April 27, 2015 @ 8:13 am
I dug Arya's scenes, but I always dig Arya's scenes. I think it'd be easy to overestimate her — and the audience — in terms of what she's going to pick up on and what she isn't. We know a lot about the House of Black and White because we've read the books, but there are probably a lot of people, including Arya, who thought she was coming to assassin school. And she is, but she isn't. Also remember she's the only one who can ask questions in that house, so there's probably going to be more "what's it all about, Doctor?" before we're through.
I don't know if I could rank the episodes. You said of Orphan Black that it's best binge-watched, that the episodes themselves don't exactly stand alone, but I think that's also true of Game of Thrones to some extent; I can rank the treatment of the storylines, but for me the episodes are largely containers to put those in. Maybe you're seeing more unity to them than I am.
My favorite comedy moment from the episode was the one where we go, "oh, which one of these people is going to turn out to be the High Sparrow? Maybe the one played by Jonathan Pryce?"
April 27, 2015 @ 10:26 am
"The transition is by hard cut, from Cersei looking angry to Bolton men outside"
Thanks to your blog, I've been paying attention to the transitions, and what struck me here was a sort of transition by sound, from the high mocking laughter of Margaery and her attendants to the whinnying of the horses at Winterfell.
April 27, 2015 @ 10:32 am
Oh, that's good. That's very good.
April 27, 2015 @ 1:11 pm
"…via the excising of an ill-advised subplot about an obviously fake Aegon Targaryen."
I actually don't think this is true. I don't think they've excised this subplot and I'm not sure he's fake. I think they've consolidated this subplot with the Dornish plotline. Whether Aegon will turn out to be real or not, I think on the show we will learn that he has been under the protection of his uncle, Doren Martell (as opposed to Griff/Jon Connington in the books). In fact, I suspect Doran's "heir" Trystane (introduced in episode 2), will be revealed to be Aegon, and it will be Jaime Lannister who discovers this (as opposed to Tyrian). Otherwise, why focus so heavily on Dorne in the TV show, where nothing of any real consequence happens in the books? It's a way of consolidating the Aegon story line in a way that, frankly, makes more sense, but also has the benefit of introducing fewer new characters and streamlining Tyrion's trip to Mereen.
April 28, 2015 @ 2:54 am
I like this idea a lot, though I tend to think the chances of Aegon being real are pretty damn small. I just don't see any reason for Varys to have risked the switch; what could he possibly gain from handing over the real Aeron as oppose to another Valyrian-blonde baby? There's no DNA testing in Worlderos; actually trying to grab him seems to me all downside.
April 28, 2015 @ 5:58 am
I noticed with some interest and surprise the burning heart symbol in the House of Black and White. It interests me because the last couple of books seem to have been setting up a dichotomy between death gods (the Many-Faced God, the Drowned God, the Stranger) and gods of life (the Old Gods, the Lord of Light, the rest of the Seven). The choice to associate Rhllor with the death gods thus strikes me as a possibly notable departure by the show.
April 28, 2015 @ 6:00 am
To clarify, I don't think it's setting up a MORAL dichotomy. I just noticed it seems like the gods are broadly classifiable along those lines, and the books seem to place some emphasis on that classification, hinting it may have relevance down the line.
May 4, 2015 @ 12:45 am
Yes I've been paying more attention to the transitions due to this blog too.
May 4, 2015 @ 12:48 am
I really enjoyed the dialogue with Varys and Tyrion where he rants about how there are kings everywhere and every pile of shit has a flag in it. Brilliant.