GAME OF THRONES Fights "Harpy"

Article originally written for Seat42F.

“The Sons of the Harpy” are just one of the dangers faced in this week’s GAME OF THRONES on HBO. King’s Landing seems to dissolve further into chaos, with the leadership of the city in doubt. Mereen is in a very similar situation because of the group in this episode’s title. Strong families in the North and South make plans to strike towards the unstable middle, but who will win remains far from certain.

Let’s start with Mereen, which is where the hour ends. Daenerys (Emilia Clarke) continues to resist reopening the fighting pits, no matter how strongly Hizdahr (Joel Fry) argues for it. As a consequence, “The Sons of the Harpy” continue to slaughter her men, possibly taking out Grey Worm (Jacob Anderson) and Barristan Selmy (Ian McElhinney) in the final scene.

One can’t help but wonder if Hizdahr is working for the enemy. It may just be coincidence that he argues for one of the things that the Harpys want just before the attack, but in GAME OF THRONES, it’s hard to know where loyalties lie.

Whether Hizdahr is connected to the bad guys or not, I don’t know if Daenerys should give in. Many governments, that of the current United States included, have a policy against negotiating with terrorists. If Daenerys allows these tactics to work on her now, how soon before they use them again to force her into something else? If Grey Worm and Barristan are dead, though, which is unclear, she has little protection left to her and she may need to do something to stay on the throne.

One reason we have reason to hope Barristan is alive is because he is a storied, long-lived fighter, evidenced in the story Little Finger (Aidan Gillen) tells Sansa (Sophie Turner) in the crypts. Barristan is a bit player in the tale, which is used to remind Sansa of her lineage and how she must be strong, whether marrying a man she hates, or taking over as Wardeness of the North if Stannis (Stephen Dillane) arrives to retake Winterfell. But it reminds us that Barristan is around for much of the chaos earlier, and came out strong. He may do so again.

Daenerys may soon have more help in the form of Jorah (Iain Glen) and / or Tyrion (Peter Dinklage), who are on their way to her. She has reason to distrust both and may not take kindly to their arrival, but they both want to assist the queen. She could use more allies, and hopefully she will be reasonable enough to listen to them and what they have to offer.

Pivoting to the North, Stannis prepares to march to Winterfell, but before he does, he shares a very sweet moment with his daughter, Shireen (Kerry Ingram). Scarred and detested by her mother, Selyse (Tara Fitzgerald), Shireen has every reason in the world to be down on herself. Yet, in “The Sons of the Harpy,” she makes a connection to her dad, who does show his affection for her. Stannis is a busy man with a lot to think about, but the fact that he takes a little time out for his child says a lot about him, his often stoic disposition aside.

Stannis is staying with Jon Snow (Kit Harington) and The Night’s Watch presently. Jon is still refusing to help Stannis, as The Night’s Watch is not supposed to get involved with the affairs of the seven kingdoms, being above family alliances. He is tested, though, when he has to ask the Boltons, among others, for help in recruitment even though they killed his family. He is also tempted by a naked Melisandre (Carice van Houten), but resists. Can Jon stay strong and do what needs to be done to carry the mantle he has assumed?

I say yes because Jon is Ned Stark’s son. He may not be Ned’s biological child, a fact teased in Littlefinger’s story, which just may have quietly revealed Jon’s parentage for those paying attention (or not; all we have for now are rumors), but he was raised by Ned and that means a lot. He follows in Ned’s noble footsteps, putting duty above all else.

Those in King’s Landing are pretty much the opposite. Cersie (Lena Headey) finds a way to regain control when she sends Mace Tyrell (Roger Ashton-Griffiths) away to deal with a financial issue and empowers the High Sparrow (Jonathan Pryce) to raise an army and arrest Loras (Finn Jones), spurring Margaery (Natalie Dormer) to leave in anger when weak King Tommen (Dean-Charles Chapman) can’t free her brother. But Cersei has sins greater than Loras, and I can’t help but feel that the High Sparrow’s men will not care that she is the king’s mother when it comes time to charge her. She is playing with fire here.

This is a time when King’s Landing needs to be united. In Dorne, Ellaria (Indira Varma) and the Sand Snakes (The Almighty Johnsons’ Keisha Castle-Hughes, Mia and Me’s Rosabell Laurenti Sellers, and Silk’s Jessica Henwick) are planning to start a war with King’s Landing. Their time table is moved up when they learn Jamie (Nikolaj Coster-Waldau) has arrived to take away their leverage. The thing is, I don’t know if there will be anyone left in the capital for them to fight, given the uneasy state of things.

There are many great scenes in “The Sons of the Harpy.” I particularly like the interchanges between Jon and Sam (John Bradley), Jamie and Bronn (Jerome Flynn), and Tyrion and Jorah. All these moving parts are hard to balance, but GAMES OF THRONES does. With so many interconnecting players, though, it’s impossible to figure out where things will end up, especially as the show departs further and further from the source material, rushing through the existing material, skipping huge chunks, and making bold changes. The only thing for certain is that the story will be feature enjoyable messes.

GAME OF THRONES airs Sundays at 9 p.m. ET on HBO.

GAME OF THRONES More than "Black and White"

Article originally written for Seat42F.

In the latest installment of HBO’s GAME OF THRONES, Arya Stark (Maisie Williams) arrives at “The House of Black and White” in Bravos. This, while Tyrion Lannister (Peter Dinklage) and Varys (Conleth Hill) head to Myreen, Daenerys (Emilia Clarke) makes a controversial ruling, the Night’s Watch elects a new leader, Jaime Lannister sets off on a quest, and Brienne (Gwendoline Christie) encounters someone she doesn’t expect to. So, as usual, it’s a very full hour.

The scene between Tyrion and Varys as they ride in a carriage may be my favorite in “The House of Black and White.” The two men discuss being in a box and what that means, as well as the qualities of leadership. There’s a lot of subtext in the moment, as one might expect from two fellows as intelligent and calculating as this duo. But that’s why they get along so well; they understand each other and the world on a level that few others do. It makes their moments engaging, even if they’re just talking.

Brienne is kind of the opposite in that she needs action to move her story along. She and Pod (Daniel Portman) sitting in a tavern? OK, fine. She and Pod running into Sansa (Sophie Turner) and Littlefinger (Aidan Gillen) in said tavern, and then fighting for their lives against Littlefinger’s men? Much, much better.

None can blame Littlefinger for sicking his guards on Brienne and Pod. Viewers know Brienne is noble and just wanting to help Sansa, fulfilling the promise Brienne made to Sansa’s late mother, but Littlefinger, who has been removed from the capital and much of the gossip he used to hear, has no way of knowing that. His assessment of her makes sense given what he’s heard, and he is not one to risk trusting someone unnecessarily in such a dangerous realm. His motivations may be a bit cold and in the interest of himself, but even a kinder man may make the same decision.

For her part, it’s cruel that Brienne has now encountered both Sansa and Arya and not been able to protect either. For a woman who wants nothing more than to live by her word, no one is making that easy for her. She is quite capable, but apparently not enough to actually fulfill her mission. Even though everything that happens with the girls is no fault of hers, Brienne surely feels guilty, and actually seeing both is rubbing salt in her emotional wounds.

This encounter is (spoiler alert!) not in the books. Nor was the one with Arya. Varys, Bronn (Jerome Flynn), and Jaqen (Tom Wlaschiha) have exited the narrative by this point, so what they’re doing now is treading new ground. Jamie never goes to Dorne. Some of these choices make sense, as it’s pleasing to see familiar faces again, rather than continually introducing new ones into an already-gigantic cast, and there are no main characters in the Dorne chapters, so Jaime will help fans invest in those events. But other choices are less satisfying, such as the election of Jon Snow (Kit Harington) being rushed through without all of the stuff surrounding it.

As a fan of the novels, it’s getting hard to enjoy GAME OF THRONES. On one hand, the showrunners have made an excellent show that is exciting and fun. On the other, they are now throwing out huge, and I do mean huge, portions of the novels that would be very compelling in their own right. Instead of taking their time through ten seasons or so, as HBO is willing to give them, they’re sprinting towards the finish line, with little regard for the lovers of the written version. They’re going to give us an ending to the saga long before the last book is released. It’s disrespectful and very sad to see how much is getting cut.

Is this justifiable criticism of the show, though? I admit, I liked Jon’s election, and felt that it was OK to skip over some (though perhaps not all) of the events surrounding it. It does help the pace move along. But for a character like Sansa, who has already moved beyond what has been laid out for her on the page at the expense of what is, admittedly, a lesser story, I almost don’t want to see those scenes because they’re likely giving away parts of the sixth book, which will likely not be released until early next year.

But then there are plots like Daenerys’, which don’t completely follow the page, and yet get the spirit of it right. This young ruler, who has known nothing but success since she gained her strength, is now at a loss as to how to run a city. Decisions that logically make sense only further alienate her from the people she in judgment over. This is really good stuff.

GAME OF THRONES remains an entertaining show, and “The House of Black and White” is a solid installment. If only the showrunners showed more respect for the contingent of the audience who have loved these characters and stories the longest.

GAME OF THRONES airs Sundays at 9 p.m. ET on HBO.

Unpaused Game of Thrones

Article first published as GAME OF THRONES Review Season 1 Episode 1 Valar Dohaeris on Seat42F.

Grade: 96%

There are many fans of HBO’s GAME OF THRONES out there, eagerly awaiting the start of the series’ third season this weekend. Having viewed the premiere, “Valar Dohaeris, I can report that it is back in the fine form we are accustomed to seeing, and those holding their breaths can finally let them out. Without spoiling anything important, here are my thoughts on the latest installment.

“Valar Dohaeris” is very accessible. I really wanted to refresh my memory with a reviewing of season two’s finale, remembering how dense season one was, and having re-watched the entire first season to prepare for the second, but didn’t have time. However, this episode, without quite recapping, doesn’t take long to get you back up to speed. There are enough references and callbacks to last year’s finale to connect the threads, yet not so much that they slow down the pacing of the return. This is much appreciated.

There isn’t a sense of urgency in this week’s episode. It takes its time, showing us one or two characters at a time, and very few get a second glimpse. In this way, we get to check in, be reminded of the trajectories, delight in a few extended dialogue exchanges, and don’t have to struggle to keep up. There’s a whole season ahead of us, and “Valar Dohaeris” doesn’t push anything too big forward, letting fans get back into the swing of things before trying to drop a huge shocker.

Among those mentioned exchanges, one of the best is between Tyrion (Peter Dinklage) and Tywin (Charles Dance). The relationship between these two is definitely one of my favorite parts of GAME OF THRONES. We’re familiar with their past beef, and Tywin’s ongoing disappointment in his halfling son. The scene between them this week is not exactly a rehash of their previous conflict, but it definitely lets us know where they stand now, and how things may or may not move forward between them.

Dinklage and Dance slay this bit. Dinklage’s awards for the role are well deserved, and I would argue that he comes across as the most intelligent and compassionate character on the series. This shines through here, in stark contrast to Dance’s icy father, likely a deliberate choice on Dance’s part that serves the chemistry well. I do think, at some point, things will come to a head between the two. But it’s interesting to see Dinklage mix a need to win his father’s approval with a strong spirit that is willing to stand up to Dad, played with masterful nuance.

Tyrion also gets a tense scene with Cersei (Lena Headey). The siblings have a complicated relationship, to say the least, and the events of last year’s finale have left them on shaky ground with one another. “Valar Dohaeris” addresses this, and reminds me that Headey may be one of the more underrated performers on GAME OF THRONES.

The MVP of this episode, for once, may not be Dinklage, though, instead going to Natalie Dormer. Margaery Tyrell has little to do in the second season, but that will definitely not be the case in the near future. She immediately establishes herself as a very familiar political sort, and her public persona is deliciously crafted. I cannot wait for a true power struggle between her and Cersei, as Joffrey (Jack Gleeson) now has two women who seek to manipulate him for their own purposes and gains.

I also like the introduction of Mance Rayder (Ciaran Hinds, Political Animals, Munich), the King Behind the Wall. We don’t know a lot about him yet, but his early interaction with Jon Snow (Kit Harington) is layered and intriguing, setting up yet another ruler in a land already crowded with them. The casting choice here is inspired.

Among the other treats of the episode, we see more of the aftermath of the loss in Stannis’s (Stephen Dillane) camp, Robb’s (Richard Madden) anger at his mother, Catelyn (Michelle Fairley), is unabated, Daenerys (Emilia Clarke) has at least three tantalizing bits, Ghost saves a life, and Littlefinger (Aidan Gillen) makes an uncharacteristic generous offer (or does he?).

Sadly, the slower pace and lingering conversations means that not every fan favorite character shows up in “Valar Dohaeris.” Several of the most central players are completely absent, which leaves one very much wanting more at the end of the hour. However, this is understandable with such a large cast, not unprecedented in past entries, and it’s not like any minute within the episode is wasted, so it’s more a testament to how beloved these people have become, and how much we want to see them, rather than a complaint about the storytelling.

The effects are also quite excellent this week. From a creepy little girl who is more than she appears, to the fast-growing dragons, there are quite a few CGI elements present, all seamlessly incorporated into the fabric of the show. Clearly, much care and expense has gone into making these feel like everything else in this world, and they are remarkable for how well they blend with the actors and scenery, rather than stick out like a sore thumb.

Overall, I am left incredibly satisfied with the premiere, and stoked to watch more episodes. GAME OF THRONES’ third season airs Sundays at 9 p.m. ET on HBO beginning this week.

Queer as Folk The Complete UK Collection on DVD in USA

     Acorn Media recently released Queer as Folk: The Complete U.K. Collection. From creator Russell T. Davies (Torchwood, Doctor Who), Queer as Folk follows Stuart (Aidan Gillen, Game of Thrones, The Wire), a promiscuous, ornery gay man in Manchester, England. His considerably quieter best friend, Vince (Craig Kelly, Coronation Street) has a crush on Stuart that isn't exactly secret. Then Stuart picks up a fifteen year old boy named Nathan (Charlie Hunnam, Sons of Anarchy, Undeclared), disrupting their lives in many ways. 

     Queer as Folk aired more than 10 years ago in Britain, and its American remake put in five seasons on Showtime. Thus, if one is interested in the material, it is likely a great deal is already known about the plot. What may have been forgotten over the years is the large amount of controversy that Queer as Folk caused upon its debut, and the special features do everything they can to remind fans of that.

     Queer as Folk is a show that people either love or hate; those against the show were quite vocal about it when it aired. The show's critics have argued that the series is a bad representation of the gay community, and promotes dangerous and destructive behavior. There is graphic sex depicted between a man and an underage boy; characters pop pills. Any reference to safe sex is subtle. Many gay individuals have claimed that Queer as Folk has nothing for them to relate to, as they live far more 'normal' lives.

     The argument that creator Davies and his cohorts make is that they never set out to provide fair representation. That would have been a less exciting documentary. Instead, they want to tell a story, a drama of three men, their friends, and a very special, specific time in their lives. Davies, as a gay man, uses his experience to tell the story, knowing that the circumstances don't apply to everyone.

     Under these arguments, most of the complaints appear to be baseless. After all, are television series featuring straight people attacked for not being representative of all straight people?

     Then again, Queer as Folk was, and is, held to a higher standard by many because of what it was: the first big, dramatic television series to focus on homosexual individuals. In that light, perhaps some viewers expect it to be something more than entertainment. Davies and his crew are not worried about the larger implications. Thus, there is a disconnect between what is being made, and what comes to screen.

     Queer as Folk The Complete Collection contains the entire run of the British version. Series 1, originally aired in eight half-hour installments, is presented as four, hour-long episodes. Series 2 includes two episodes, making the total run less than six hours in length, an unexpectedly short television series for all the impact it has had.

     The three-disc set also contains a wealth of extras. There is a 20-page booklet with reflections by Davies, many of which pertain to those things mentioned above, as well as the production process for the series. A 45-minute feature called "What the Folk...?" follows some of the behind the scenes stories, again, with a large focus on the controversy, and reuses clips from the series and the other features quite heavily. A shorter, seven minute behind the scenes feature talks of the real Canal Street, and how the gay main characters are played by straight men. Much of the interview material predates the series airing, not exactly making it new, but at least collecting it in a convenient location.

     The expected bonus features are present, too. There is almost an hour of deleted and extended scenes, a huge trove, considering the short air time. Three teasers and five trailers are included, as are almost five minutes of still slideshows. Cast filmographies for the three leads are present, updated to this year.

     There are also two bits from other shows. A short interview of two cast members on T4 is on Disc One, as well as an 11.5-minute segment from Right to Reply, a series that, among other things, lets "normal" people confront the minds behind the series they watch. In this case, a gay rights activist and a "typical" gay man are allowed to confront an executive producer and network rep. The latter don't fight back as much as they probably should against the negative accusations.

     It is welcome and appropriate, though, that such an important series gets such a nice, complete DVD treatment.

     Click here to order Queer as Folk The Complete UK Collection on DVD.

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Article first published as DVD Review: Queer as Folk - The Complete U.K. Collection on Blogcritics.

Game of Thrones proclaims "You Win or You Die"

     Things are coming to a head in HBO's Game of Thrones, as the various forces who want control of the Seven Kingdoms begin to act on their desires. In the latest episode, "You Win or You Die," those plans begin to unfold. Even though Viserys (Harry Lloyd) is dead, his sister, Daenerys (Emilia Clarke), decides she wants to sit on the Iron Throne. After a failed poisoning attempt ordered by King Robert (Mark Addy) on Daenerys, her husband, Khal Drogo (Jason Momoa), pledges to win it for her and their unborn baby. As Robert passes away, Ned Stark (Sean Bean) makes a play to control the throne, exposing Robert's "son" Joffrey (Jack Gleeson) as a product of an incestuous affair, not the rightful heir. Queen Cersei (Lena Headey) has Joffrey rule, though, and a betrayal by Littlefinger (Aidan Gillen) makes Ned the loser. For now.

     This wonderful fantasy series is made more so each week, as tension mounts, and dangers scale up their threat level. The political battles are merely one side of the coin, though they have been front and center, and highly addictive. Ned is clearly in the right, but while he at first appears to have the upper hand, especially after gathering all the intelligence that the last Hand of the King had before his murder, he is still left out in the cold because he doesn't play the loyalty games. Ned is straightforward and honest. Others are not. It's why Ned is not succeeding in ousting the Lannisters, and it's why the hero now finds himself outmatched by the villains. Which makes the story only more interesting.

     It truly is a good versus evil battle. While some of the players in Game of Thrones do operate in a shade of gray zone, like Tyrion (Peter Dinklage), or at least, their loyalties are still unknown, the main group of Lannisters and the Starks are truly assigned a right and wrong. It makes things a little easier on the viewers, as the story is complicated enough without not knowing who to root for. In this case, simpler is better. And it feels good to have the hostility out in the open now, instead of behind closed doors.

     Besides the Lannisters, though, Daenerys thinks she has a claim to the throne. And maybe she's right. Her father was king, after all, until he was overthrown by Robert and others, long before the series begins. Because Daenerys is so far outside of the machinations of the other main characters, she isn't assigned an appropriate label yet. But considering the ruthlessness of the people she is embracing, and the almost saintly goodness of Ned, she will likely by the intruder, not the defender.

     Which begs the question, might the Lannisters and Starks have to join forces against her? Or might Ned be able to team up with her? Thus far, Daenerys only approves of harm done to those who deserve it, as punishment, much like Ned. With a lack of decent candidates to sit on the Iron Throne, might Ned be convinced to support her campaign? It would certainly be an unexpected twist. The truth is, Daenerys is a wild card, and when Drogo and his army do arrive at the mainland, anything may happen.

     The other threat, this one casting a shadow over everything, even though they have not been seen on screen since the opening moments of the series, are deadly creatures that lurk behind The Wall. This week, the danger feels more real, as Benjen's (Joseph Mawle) horse returns without him. Nephew Jon Snow (Kit Harington) would like to look for his uncle, but is kept on the other side by his duties to the Night Watch, of which he is now a full fledged member. Lucky for Snow fans, he has been assigned as a steward, and will not be venturing into unknown territory anytime soon, as the rangers do. It means Benjen's disappearance won't quickly be solved, but does allow an interesting, noble character to survive until he can actually be useful.

     Game of Thrones continues Sundays at 9 p.m. ET on HBO.

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     To buy the Game of Thrones books on which the show is based, please click here.

Article first published as TV Review: Game of Thrones - "You Win or You Die" on Blogcritics.