"Dragons" "Dance" in the GAME OF THRONES

Article originally written for Seat42F.

Given that HBO’s GAME OF THRONES has a penchant for making the penultimate episode of every season big (think: Ned Stark’s execution, The Red Wedding, The Battle of Blackwater), and given that last night’s episode is titled “The Dance of Dragons,” many assumed both splash and dragons would be served. Those people are likely not disappointed, then, with what GAME OF THRONES delivered.

The biggest thing by far in “The Dance of Dragons” is the sequence at the re-opened Mereen fighting pits. It starts off simple enough, with some charged interplay between Daenerys’ (Emilia Clarke) men, Daario (Michiel Huisman), Hizdahr zo Loraq (Joel Fry), and Tyrion (Peter Dinklage). Daario and Hizdahr both want Daenerys’ heart, and Hizdahr and Tyrion both seek to advise her. Well, what Hizdahr really wants is likely to depose the queen and rule himself, but until that happens, things still don’t look like smooth sailing for this all-male council.

All of this goes on as the fighting happens in front of the dais, which is interesting. Brutality is happening right in front of them, but it’s at least partially ignored because it doesn’t directly concern this group. They can talk about it on an intellectual level, but not being in the pits themselves, they don’t have that person stake. This highlights the detachment of leadership, and probably why Daenerys is having trouble controlling her people.

Jorah (Iain Glen) reappears in the pit, and that does make things more personal, at least for Daenerys. I’m not sure why The Bear returns again, having twice been cast out. Does he think he will get a different reaction from Daenerys this time? I can’t see any reason why he would think so, nor does he at the start.

But then the Sons of the Harpy attack, and nothing is certain any more. Now the danger really does threaten our small contingent. Hizdahr, the one of the attacker’s own who sits with the despised ruler, dies first. Jorah re-earns a place by Daenerys’ side by defending her, which she accepts when she takes his hand. It’s a smartly staged attack, with only a few Unsullied around and our heroes trapped in a confined space. This coup is bloody and intense and viewers will not soon forget neither the unexpected way in which it happens, nor the desperation as Jorah, Tyrion, Daario, Missandei (Nathalie Emmanuel) and Daenerys cower in the center of the pit, becoming part of the fighting action themselves, no longer separate and above it. It’s a powerful image.

Then, Drogon appears. The best dragon of Daenerys’ trio, he comes when his mistress needs him, barbequing her would-be assassins. He’s not yet completely full grown, and spears do threaten him, but he startles the bad guys enough to rescue Daenerys and fly away. It’s slightly deus ex machina, but it’s also a pay-off for a long-simmering story, and a good way to reawaken the dormant ‘mother of dragons’ plot thread.

Does Daenerys not care about her fellows? Perhaps in the moment she can be forgiven for being so focused on her pet, a truly mesmerizing sight. But when she flies off, she leaves the others in the pit. I think, given the confusion and chaos the dragon causes, they can escape, but how does she know that? Would she really be so heartless as to leave the others who have protected her so bravely to fend for themselves? This is the one thing that seems out of step in this portion of “The Dance of Dragons.”

While Mereen is the setting of a large portion of the hour, it is not the only place where things are happening, of course. The second most affecting bit comes when Stannis (Stephen Dillance) gives in to Melisandre’s (Carice van Houten) request to sacrifice his daughter, Shireen (Kerry Ingram), burning her alive, which thankfully is not shown in graphic detail. Now, according to Melisandre, this will guarantee Stannis’ progress in taking control of the Seven Kingdoms.

I don’t think Stannis’ actions can just be chalked up to desperation. True, his army is decimated, the stores burned, and he’s out of options, which does lead him to consider the one he wouldn’t before, killing his beloved daughter. But I don’t see malice or regret in his eyes when he talks to Shireen beforehand, and he actually does a kindness when he gets Davos (Liam Cunningham) out of the way, as Davos would have died defending the girl. Instead, Stannis really believes he deserves the Iron Throne and must do whatever he can to get it. There’s no anger or grief or selfishness in his face; this just is, and he accepts it as the heavy price he must pay. This will likely make most viewers, myself included, turn against his ‘just’ cause, as he’s stubborn to a tragic fault.

In Bravos, Arya (Maisie Williams) also does what she thinks she must, abandoning the mission Jaqen (Tom Wlaschiha) gives her when she spots Meryn Trant (Ian Beattie), one of those she’s sworn vengeance against for what happened to her family. She follows him around instead of killing the heartless businessman, who has earned his own death.

There’s no denying Trant deserves death, especially when his whorehouse proclivities are exposed, but I don’t think Arya is ready to go after this man head-on. She’s still very early in her training, and clearly her motives are purely personal, making her emotional. Plus, if she goes against Jaqen’s orders now, and I suspect Jaqen already knows what Arya is considering and is waiting to see what will happen, she’s likely to be kicked out the program. Then what will she do? Is being a Faceless Man just something she tests out, or is it her calling? Would she be allowed to leave the church without penalty?

Other great moments include Jaime’s enlightening discussion with Doran Martell (Alexander Siddig), which shows us Doran’s character, Bronn’s (Jerome Flynn) penalty being paid for striking a prince, and the tense few moments until Alliser (Owen Teale) opens the gate to Jon Snow (Kit Harington) and the Wildlings. “The Dance of Dragons” may be a big episode, but there are plenty left in these other sections for next week’s season finale, and many rich characters to keep playing with. If I had to hazard a guess, I’d say Jon will be the one to watch next week, and maybe Cersei, who sits this episode out.

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

GAME OF THRONES Finds a "Hardhome"

Article originally written for Seat42F.

This week’s installment of HBO’s GAME OF THRONES is called “Hardhome.” That is the name of a Wildling seaport where many of those who live north of the wall have gathered, and it is the place where Jon Snow (Kit Harington), along with Tormund Giantsbane (Kristofer Hivju), leads a band of men to save these savage people. It is also the set point of the biggest battle scene in years on the series, which results in the bad guys increasing their army significantly.

The war at “Hardhome” is quite impressive. Waves of dead soldiers attacking the Wildlings should motivate the latter to join with Jon Snow in a way all of his words will not. Jon can argue until he’s blue in the face, and even with the support of some of their number, including Tormund and Karsi (Birgitte Hjort Sorensen, Borgen), he’s not going to sway a majority of minds. These people are too ingrained with hatred for the Night’s Watch, and until the imminent danger is upon them, they cannot change their minds.

Jon is wise to realize that most of them will never be his friend, but he is banking on the fact that they might want to survive, as he does. He’s not asking them to swear fealty to any throne, which would always been a requirement to move south before, instead defying kings himself to save the kingdom and recruit more fighters. He’s a very intelligent and canny leader. If only he were a tad more persuasive, his plan might just work.

Still, the war sequence is a cool piece of filmmaking, with neat effects and a relevance to the characters. It’s not just for show, the scene meaning something very important to the story, and it lends an urgency and intensity that GAME OF THRONES has been lacking. I love this program most for the character development, but it needs some war bits every now and again to keep it interesting.

The rest of “Hardhome” is much quieter, with a few pivotal scenes for important people. Samwell (John Bradley) gives Olly (Brenock O’Connor) some advice that the lad is sure to misinterpret and will cause problems with. Cersei (Lena Headey) is as low as we’ve ever seen her, the actress doing a fantastic job of showing the queen mother’s despair and hopelessness. Sansa (Sophie Tuner) learns a vital secret from Reek / Theon (Alfie Allen) in a wonderfully charged moment. Arya (Maisie Williams) is given her first kill assignment. These are all excellent bits, and while they don’t need paragraphs to discuss them, taken together, they make for a heck of a great episode.

The other major story in “Hardhome” I do want to talk about, though, is the meeting of Daenerys (Emilia Clarke) and Tyrion (Peter Dinklage). Obviously, Daenerys’ first instinct when faced with a member of her rival house is to kill him (after bringing him home, apparently), and you can see that in the rage that emanates from her body. Thankfully, she holds back, as fans know that Tyrion is a smart and fair individual, not one to let clan disagreements drive his behavior. He really has come to help her, having no place else to go himself.

It isn’t easy for Tyrion to convince Daenerys to keep him on as an advisor, and a man less skilled at the art of conversation would fail. Tyrion decides to just be honest with the queen, telling her about Varys sending him, and giving a balanced opinion on Jorah (Iain Glen), whom Daenerys ends up sparing but banishing again. Tyrion knows he can’t talk Daenerys into anything, but if he’s open with her and she’s the type of queen he’d respect enough to serve, she’ll listen. Thank goodness this pays off.

Yet, Tyrion can’t help but recommend Daenerys gives up her dream of the Iron Throne. He has valid points on that, but being newly hired and precarious in his position, now might not be the best time to bring them up. It speaks to his honor that he does so, but that’s a Ned Stark-type mistake, being honorable to the point of foolishness. Let’s hope that Tyrion doesn’t share Ned’s fate.

GAME OF THRONES’s fifth season has been an exciting one, and if history is any indication, the penultimate hour of the season next week should be a doozy. But then again, the writers do like to do the unexpected (such as abandon the source material from the book series five years in), so you never know.

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

Book Fans May Want to "Kill" GAME OF THRONES

Article originally written for Seat42F.

This week’s GAME OF THRONES on HBO is called “Kill the Boy.” The title does not refer to a person that should be murdered, though fans could be forgiven for thinking that, given the high death count in this series. Instead, it’s a phrase meaning to step up and be a man, readying yourself for whatever is coming at you next. While only directed at one character on screen, as with many episode titles, it can be applied to many.

“Kill the Boy” is the advice Maester Aemon (Peter Vaughan) gives to Jon Snow (Kit Harington) when Jon seeks advice about making a tough decision. Aemon doesn’t need to hear the details of the choice; he voted for Jon Snow and he trusts Snow’s leadership. What Aemon is telling Jon is that he just needs to embrace that mantle, no longer second-guessing his decisions. It’s a tough lesson for anyone to face, but especially for Jon, a very young man now leading a ragtag group who may be their realm’s only chance at survival.

Jon’s declaration is not a popular one. He tells the Night’s Watch they will be letting the Wildlings through The Wall. Wilding leader Tormund Giantsbane (Kristofer Hivju) isn’t happy either, refusing to serve any king or crow. But Jon’s orders are fair and just, basically instituting a diplomatic treaty that no one negotiated, not asking for fealty. It is painful for both sides, but if they don’t adopt it, they will all probably die. Tormund is wise enough to see that. The men of the Night’s Watch seem less so. Will they stage a coup, signing their own death warrant, or truly trust the man they elected?

Speaking of leadership, Daenerys (Emilia Clarke) is having a rough go of it herself. After the Sons of the Harpy kill Barristan Selmy (Ian McEhinney) – a change from the books I am very upset about, but that might open up a spot for Jorah (Iain Glen) to serve her again – she reacts in anger. She gathers the house leaders together and lets her dragons eat one. But after reflection, she realizes this will not solve the problem, only making the rebels more determined to fight against her. So she reopens the fighting pits, as requested, and decides to marry Hizdahr (Joel Fry), one of the leaders. 

Is this a sign of weakness from Daenerys? “Kill the Boy” has her giving in to the demands of terrorists and uniting with one of the rulers she hates. However, Hizdahr has been much more cooperative than most, and based on his actions in this episode, probably will willingly play second fiddle to the dragon queen, advising her on the best interests of his people, but scared enough of her to not try to overrule her. The question is how the rest of the people of Mereen will see her and if the thugs will be satisfied with their victory or keep pushing.

Jorah will surely find quite a different Daenerys when he gets back to her, if he gets back to her. Trying to take a short cut away from pirates, Jorah and Tyrion (Peter Dinklage) are beset upon by stone men in one of the coolest settings GAME OF THRONES has shown us in awhile. The fight itself is grounded, nothing super spectacular, but by letting it happen in mist-filled ruins with a dragon flying overhead, it really adds something cool to the proceedings.

Sadly Jorah is infected by the stone men, which is again quite a bit different from the books, since he isn’t even with Tyrion on the page when Tyrion goes through that waterway. Does this mean he isn’t destined to make it back to Mereen, or even if he does, his usefulness will be short-lived?

GAME OF THRONES is now swiftly chewing through the source material, ditching the majority of it, unfortunately, and simplifying the rest. Any time a book series is translated for the screen, changes happen, and I think most fans accept that. What is frustrating in this situation is that the show used to
be very true to the books, making some changes, but mostly minor ones. This gave viewers the expectation that this trend would continue.

Season five, however, has made for some extremely different situations, with about half the main cast (or possibly more) now on different paths than they were on the page, and many, many chapters being tossed out to get to the next thing quicker. Some arcs have already moved beyond what has happened in the five published volumes, even though they could be taking their time. HBO would be willing to make ten seasons or possible even more, but those in charge of GAME OF THRONES are determined to finish in seven years, a very unwise choice if you ask me, given the story could easily fill many more without dragging.

This makes for a conundrum. I try very hard to take the show on its own, and when doing so, I think GAME OF THRONES is still a very strong, very enjoyable show. There hasn’t been any episode I didn’t enjoy, and none of the stories have stopped making sense. The problem is, there is a lot I want to see but now realize I won’t. By starting out with respect for the books and then, halfway through, hugely abandoning them, the show writers and runners are demonstrating a major lack of respect for the author and the fans and a betrayal of trust.

Sansa’s (Sophie Turner) story is one of the few places I agree with the decision to change things. Sansa does not go to Winterfell in the book, it’s an imposter the Boltons are trying to pass off, and so the stakes have been raised greatly in “Kill the Boy.” But her case is the exception, not the rule.

I think, when the series is over and done with, GAME OF THRONES will still be a show I can rewatch and enjoy. However, there will be a big sense of wasted opportunity that the series did not go anywhere near far enough in its efforts to make a good adaptation, and I’ll be longing for another attempt as soon as possible.

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.

GAME OF THRONES Has "Come"

Article originally written for Seat42F.

Season five of HBO’s GAME OF THRONES begins with the various characters worried about “The Wars to Come.” Those with serious power in Westeros are now almost all dead, and the ones left behind fight for seats they are not worthy of holding. Across the sea, a new ruler struggles to find her own bearings, but some help is on the way that may just get her over the hump, if she can trust it.

The last sentence in the introduction paragraph refers, of course, to Tyrion Lannister (Peter Dinklage) and Daenerys Targaryen (Emilia Clarke). Unlike the rest of the both their families, these two have been the reasonable, strong fighters, who overcome the odds to succeed, and actually care about the people under them. Either would make a wise, just leader, but together, they could be unstoppable.

Tyrion starts “The Wars to Come” in a box, secreted across the sea by Varys (Conleth Hill), now also on the run. Varys believes Tyrion is the type of leader that the Seven Kingdoms need, and wants to introduce him to Daenerys. But they are still a long way away from her yet, and lots can happen on a journey. One thing I’ve learned about GAME OF THRONES is that plans made much in advance rarely come to fruition.

Daenerys could really use the assistance about now. Having spent four seasons rising in power, she has stalled in her current land. Apart from her dragons, whose trust she has lost, her closest advisor sent away, and the nobility she displaced rebelling against her, she is not doing well. Fans love Daenerys and know she can be a good queen, but Daenerys isn’t yet ready for the challenge peace brings. She can wage campaigns and battles fine enough, but like many in history, she has a hard time adapting in the aftermath of war.

Tyrion has proven himself capable in both situations, so hopefully they find and help one another.

Back in King’s Landing, a conflict is brewing between Cersei Lannister (Lena Headey) and Margaery Tyrell (Natalie Dormer). Both seek to control Tommen (Dean-Charles Chapman), the current boy on the Iron Throne. Cersei is starting at a disadvantage, though. Drunk and sick with anger and grief over the loss of her father and her brother, Jaime’s (Nikolaj Coster-Waldau), betrayal at setting free Tyrion, she is not thinking clearly. It seems that a prophecy she is told as a little girl in the opening scene of “The Wars to Come” may very well come true, since Margaery doesn’t seem hampered by either thing. But I can’t help but think neither of these women are going to matter in the end, not strong enough to hold two kingdoms, let alone seven.

Lastly, Jon Snow (Kit Harington) is having a hard time of it up on The Wall. Caught between Stannis Baratheon (Stephen Dillane) and Mance Rayder (Ciaran Hinds), both stubborn men, he tries to broker a compromise that lets both walk away. That fails, and Stannis publically executes Mance. Rather than watch a great leader he respects suffer, Jon puts Mance out of his misery with an arrow through the heart.

Will Stannis let Jon’s actions stand? Technically Stannis has no control over the Night’s Watch, an independent body that Jon is a part of. But when has the exact rule of law ever stopped Stannis? He is a bitter man with a chip on his shoulder and something to prove. Surely, he cannot be happy at all with Jon’s decision. Stannis thinks he knows the type of man Jon is, but “The Wars to Come” proves that not to be the case. Stannis and Jon are not going to be friends.

As usual in GAME OF THRONES, there are more than three threads in “The Wars to Come.” I only choose these three, though, because they seem the most important, and the ones likely to have the biggest effect on the next few hours. It’s a very full show with a lot going on, beautifully balanced. It serves these grand stories well, while giving us meaningful bits with Sansa (Sophie Turner) and Tormund (Kristofer Hivju) and Brienne (Gwendoline Christie) and Missandei (Nathalie Emmanuel) and others. It may actually be hard to predict which of those minor moments will be important later. Thankfully, the show has done a fine enough job defining the characters and situations that it is no longer hard to follow along in this complex web, and if they do matter, many will remember them.

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