No "Mercy" in the GAME OF THRONES

Article originally written for Seat42F.

Fans of GAME OF THRONES are used to bloodbaths, but rarely has a season finale on the show been as bloody as what HBO aired last night. In “Mother’s Mercy,” at least two characters who are still alive in the books meet their fate, and one of the most central figures lies bleeding to death. With a number of other cliffhangers and disturbing moments, season five ends with far less sense of closure than most past years have.

The biggest thing in “Mother’s Mercy” is Jon Snow (Kit Harington) being stabbed a la Caesar, with Olly (Brenock O’Connor) providing the “E tu Brute” moment. It makes sense for this band of unruly thugs to betray Jon, who is making wise but unpopular decisions, not realizing how vulnerable this will leave them. I’m surprised to see Alliser Thorne (Owen Teale) participate, as he seems more honorable than most, but what happens to Jon is not unexpected, the most noble in GAME OF THRONEs always paying a steep price from people who aren’t smart enough to understand.

I don’t think Jon Snow is dead. Too much has been made over the mystery of his parentage for him to go now, without any resolution. Were Jon dead, then it wouldn’t matter who his mother or father are, and so the series has wasted time bringing them up repeatedly and allowing viewers to speculate over it. It’s possible the writers were misleading in the past by doing so, but I don’t believe that to be the case.

If I’m wrong and Jon does perish, there are two possibilities that might keep him around. One, Melisandre (Carice van Houten) could bring him back. We’ve already seen one who worships the Lord of Light do so, so it would not be unprecedented, though it would surely remove the importance of Jon’s parentage because he wouldn’t fully be Jon any more. Two, Jon could awake as a White Walker, giving us a peek into that world more fully. That would be interesting, but again, negate the affect his parentage would have, and so I find both possibilities intriguing but unlikely.

Stannis (Stephen Dillane) is probably dead. As much as it sucks to see Brienne (Gwendoline Christie) kill a defenseless, wounded man, she sees it as her duty to execute him for his unforgiveable crimes, so her actions make sense. It’s a lackluster end to the stubborn, would-be king, but one that feels deserved after the events of last week. I won’t be sad to see Stannis go.

This leaves the Boltons as the unchallenged leaders of the North. Even with Sansa (Sophie Turner) and Theon (Alfie Allen) unrealistically jumping off a wall into a not-nearly-high enough snowbank and escaping, there isn’t an army to challenge the Boltons’ claim on Winterfell. Sansa has already been married to Ramsay (Iwan Rheon) and the marriage consummated, so she personally doesn’t need to be there for Ramsay to claim ruling rights. A White Walker invasion may be the best one can hope for to wipe out those nasty Boltons.

Myrcella (Nell Tiger Free) is likely dead, too, her heartbreaking death in her father’s arms finally proving the danger that Ellaria (Indira Varma) and the Sand Snakes pose. They have basically declared war on King’s Landing, defying their own leader to do so.

Not only is Jaime (Nikolaj Coster-Waldau) in no position to turn around and exact revenge, much as he might want to, but King’s Landing isn’t ready to respond either, their own leadership sorely lacking. Cersei (Lena Headey) loses any little respect the people have for her during her naked walk of shame (another Emmy-worthy performance from Headey, who just had her best season yet), and King Tommen (Dean-Charles Chapman) is helpless to even control the faithful in his own city, let alone make outside war. It is likely Myrcella’s death will go unchallenged, possibly emboldening Dorne to make a larger play, assuming Ellaria dispatches her king as readily as she does Myrcella, a distinct possibility.

“Mother’s Mercy” leaves the Seven Kingdoms riper for invaders than ever. Except, who will invade them? Daenerys (Emilia Clarke) is no position to do so, away from her people, surrounded by Dothraki. She’d have to get Mereen under control first, anyway.

Thankfully, Tyrion (Peter Dinklage) and Varys (Conleth Hill) are reunited in Mereen. If anyone can fix the issues that place is going through, it’s them, both cunning and resourceful. By the time Daenerys gets home, her army might be ready to go. Which would make sense, since there are a mere two seasons of GAME OF THRONES left, and given the geographical distances and multitude of players, it takes awhile for anything significant to happen on the show.

We’re much closer to the end than the beginning, and it feels like it. Practically everyone with power has been removed from it, and those squabbling over the scraps are not holding onto their positions very solidly. The stage has been set for someone to come through and finally reunite the land, as well as save it from the White Walkers. I can’t wait to see how that will play out. In the meantime, the journey to get to that big ending is an entertaining one, and with episodes like “Mother’s Mercy,” which surprise and impress, I’m certainly not complaining about taking time to get there.

Except for how angry I am that the show has departed from the book series so dramatically after four years of sticking pretty close to it. That’s annoying, as is that this episode likely spoils a couple of deaths from the upcoming sixth book. But taken on its own, the show remains terrific.

GAME OF THORONES is already working on season six, so it will return next year to 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 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.

"High Sparrow" Doesn't Play the GAME OF THRONES

Article originally written for Seat42F.

As usual, a lot happens to many different people in this week’s GAME OF THRONES on HBO. I could write a sprawling introduction, but that seems a little pointless for an hour like this, so let’s just get to it.

First, the episode is called “High Sparrow,” so as one might expect, we meet the High Sparrow (Jonathan Pryce, Wolf Hall, Pirates of the Caribbean), a mild-mannered individual who truly lives his faith. His followers are terrorizing the High Septon (Paul Bentley) and his ilk as punishment for their hypocrisy. When the Septon asks the High Council to put a stop to the group, Cersei (Lena Headey) jails him and elevates the High Sparrow as a replacement.

This seems very short-sighted of Cersei. She is guilty of at least as many sins as the Septon is. Who is to say that the group won’t come after her next? Cersei is likely trying to do what she always does, buy loyalty by giving status, but that doesn’t seem like the type of thing that will work on the High Sparrow, a man who gives away even his shoes to those in need. A person like that cannot be bought, and Cersei is certainly setting herself up for punishment.

That is, if she’s even still in King’s Landing. Margaery (Natalie Dormer) marries Tommen (Dean-Charles Chapman), and the first thing she does after cradle-robbing sex is slyly ‘suggest’ to her husband that his mother might be happier back in Casterly Rock. We haven’t seen a lot of Margaery’s conniving ways in GAME OF THRONES yet, but a woman that has married three kings in as many years is shrewd. Now that Cersei is all that stands between Margaery and the Iron Throne, Tommen being an easily influenced puppet, her claws are coming out.

All of this sets up a fantastic dynamic in King’s Landing. What I love about GAME OF THRONES is that it constantly tears down the people who have the power. From King Robert in season one, to those who grabbed various splinters of it after his fail, such as Robb Stark and Tywin Lannister, no one stays in charge for long. At this point, those left tend to be the lesser players, which makes the battles more messy and frequent, none as equipped to play the long strategy game. “High Sparrow” sets up what should be some very entertaining conflicts.

The one ruler in the land who does have a handle on things is Jon Snow (Kit Harington). In “High Sparrow,” Jon makes all the right moves. He promotes his nemesis that deserves respect, Alliser Thorne (Owen Teale), winning back over his detractors. He tries to promote Slynt (Dominic Carter), too, but when Slynt doesn’t know when to keep his mouth shut, Jon executes him to solidify his position. He refuses Stannis’ (Stephen Dillane) offer to rule the North again because of his vow, as noble as his father was.

That last one is slightly troubling. Ned Stark was so noble that it got him killed. Will Jon be similarly short-sighted? I don’t think so. The reason being, Jon took up with a Wildling girl, indicating that he knows when to toe the line and when to diverge from it. I never bought that Ned is Jon’s biological father, as cheating on his wife would be totally out of character for Ned, so while Jon may have taken Ned’s values, I don’t think he’ll be as stringent as Ned was, not a clone of the dead man.

Now as for who Jon’s real parents are, well, that’s a topic of much debate, and if you want speculation, I recommend googling. I will say I think there is Stark blood there, and also another noble family lineage.

Winterfell’s new rulers seem much less established. Roose (Michael McElhatton) decides to wed his bastard, Ramsay (Iwan Rheon), to Sansa Stark (Sophie Turner), which he thinks will win him over the North. But the Northerners are stubborn and are likely to see right through this. Either Sansa becomes worthy of her surname and takes out Ramsay to rule herself, or the other lords in the surrounding areas will think she’s a pawn not worth following. The marriage won’t last in the rebuilt Winterfell, which it’s sad to see again under these circumstances.

Might Theron (Alfie Allen) be off assistance to Sansa? Theon betrayed the Starks previously, but he’s clearly not happy in his new position under Ramsay. The question is whether all personality has been flayed from him, or if there’s still something within the lad that will allow him to fight back. If so, this man whom Sansa despises, with good reason, could end up being her most vital allay.

SPOILER! In the books, Ramsay weds a fake Sansa since no one knows where the real Sansa is and practically anyone that would recognize her as dead anyway. I kind of dig this change because Sansa’s plot in the page gets rather dull around here. It gives the struggle higher stakes to have Sana involved. I’m most interested to see where this is going, and if it continues to follow the books, with Sansa taking over her imposter’s role.

Sansa is also the last real Stark. Robb is dead, Jon is a bastard, Bran is with the Three-Eyed Crow and not likely to come home, Rickon is god-knows-where and still quite young, and Arya (Maisie Williams) is choosing to become No One. If a Stark is to play a role in the GAME OF THRONES again any time soon, it must be Sansa, though I assume Rickon will have to return at some point to carry on the name.

“High Sparrow” ends with a heck of a cliffhanger when Jorah Mormont (Iain Glen) nabs Tyrion (Peter Dinklage) in a brothel. It’s a worlds-collide moment that is highly satisfying. Jorah says he’s taking Tyrion to ‘The Queen.’ Does that mean Cersei, who has offered a hefty reward? Or does he refer to Daenerys (Emilie Clarke), whom Jorah might hope to win back a position from with such a valuable hostage? Given Jorah’s status as a desperate, aimless cast-out, it could very well be either, though Tyrion should hope for the latter, the former meaning certain death.

As usual, I didn’t get to everything in the episode because GAME OF THRONES packs a lot into every hour. So far, the show been wisely choosing who to use and when, keeping enough tabs on the main players, while not forcing story where it doesn’t need to be. “High Sparrow” continues this trend, and is a very entertaining installment.

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