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Tag Archives: Cersei Lannister
Family is everything. That was Tywin Lannister’s lesson, even if his interpretation of the sentiment left something to be desired. More than the moment, more than a fleeting grievance, he tried to teach his children that the Lannister name was their legacy and that their family is what truly mattered. “The Dragon and the Wolf” plays with this idea, the concept of who genuinely cares about the blood of their blood, who’s willing to put their own ambitions above the same, and what it gets each of them.
Westeros isn’t much for poetry. The Seven Kingdoms seem to have produced a grand total of two songs, give or take the musical stylings of Ed Sheeran, which are so very beloved by the Game of Thrones fanbase. Despite that, there is great poetry in these contentious lands, a call and response that echoes across seas and across ages. But true to the character of the place, it finds its form in death and vengeance rather than in meter and verse.
Game of Thrones, as a series, franchise, and brand, is always going to stand in the shadow of The Red Wedding. More than Ned’s beheading, more than Joffrey’s demise, more than the battles of Blackwater Bay or The Wall or Hardhome or the bastards, the Red Wedding is the event that defined the series in the popular consciousness. For a long time, it felt like everything in the show up to that point had been building to that moment, and everything that came after was a consequence of it. The third season in particular was a focal point of the larger story Game of Thrones show was telling, with that mortal matrimony as its zenith.
Season 6 of Game of Thrones has felt more like a sequel to Season 3 than an extension of the work that the show did in Seasons 4 and 5. It is the season of resurrection, one where we’ve witnessed the returns (and, just as often, the demises) of those we knew long ago: The Brotherhood Without Banners, The Blackfish, Osha and Rickon, Benjen Stark, Walder Frey, and more. Whether it’s the freedom that comes from no longer being constrained by George R. R. Martin’s novels, or the knowledge that the end is nigh, Game of Thrones spent much of its sixth year tying off loose ends that been dangling for years, often in a characteristically lethal fashion.
The culmination of that spirit comes in “The Winds of Winter,” a season finale of beginnings and endings. It is the close of one epoch of the show — the one which spun out from the Red Wedding, scattered our heroes across oceans, and brought more and more characters into the fold — and the beginning of another. The monarchs from the War of the Five Kings are dead. Winter is here. And now it’s the future that’s coming.
We don’t know who’s pulling the strings that tie the different corners of Westeros together. It may be the Old Gods; it may be The Seven; it may be the Drowned God; or it may be the Lord of Light. Septon Ray suggests they may all be different names for the same thing. But whoever has that power has left any number of those in Westeros and beyond in some sort of weakened state. They’ve taken away people’s strength, sapped them of their power and position, and left them, in a word, “broken.”
“Blood of My Blood.” The title gives it away. Though Game of Thrones is frequently centered on the idea of familial legacy, this episode in particular focuses on the bonds of family, the connections between parents and children and the other ties of kinship that can both pull us into place and break our hearts. These are the people who can save us, help us, make us stronger, but who also have a unique capacity to wound us, to frustrate us, and to unravel us.
Nowhere does “Blood of My Blood” explore the different sides of this idea more than in Sam’s return to his childhood home. Despite the smaller stakes and lack of major reveals as compared with the rest of the episode, Sam’s homecoming proved to be the best part “Blood of My Blood.” Game of Thrones spends most of its of time focused on the larger machinations of the plot in one form or another. Even when it’s not devoting time to the dragons or magic or other fantastical elements of Westeros, the show anchors itself around the titular game of thrones, as different players vie for power and an the existential threat comes from the north.
Despite this, Sam’s visit home has the feeling of something apart from the major story arc that drives the series. There’s no magic at play in Horn Hill. And while this brief stop is intended as a respite for Sam, Gilly, and Sam Jr. on the way to the Citadel, where Sam intends to earn his maester’s chain and ostensibly help Jon, there’s also little larger relevance to the detour when it comes to the show’s overarching plots. Instead, these scenes with Sam’s family offer a quiet character study, one whose chief purpose is to tell us more about who Sam is, where he came from, and what he’s become since he left home.
Be kind to your dragons. Be kind to your giants. Be kind to your enforcers and lieutenants and underlings. Be kind to the nobodies, to the downtrodden, and to the “little people” who, unbeknownst to you, can loom quite large. Because these individuals have power–power that you may not recognize, power that you may take for granted–but power that may be turned against you or that, at some difficult moment, you may even sorely need.
No one is kinder, if still cautious, on this front than Tyrion. His quiet scene with Dany’s two remaining dragons was the highlight of an eventful, action-packed episode because of its simplicity and tension in the moment. Perhaps Tyrion is uniquely suited for dragon taming, particularly attuned to earning the trust of superior beasts. He is, after all, someone who has had to get by on disarming the powerful with his wits and charms rather than with his sword (though he’s occasionally used his pocketbook instead). And as Tyrion noted when we first met him, he has a particular appreciation for the unique and broken things across Westeros.
Game of Thrones might be too familiar, too expansive, to have the same force it once did. When a show’s been on the air for five years, it’s harder for it to surprise you. The characters are well-established; you know most of the series’s tricks, and you also know a great deal about what the show’s good and bad at. Game of Thrones is good at a lot of things–humorous asides, daring rescues, and moving character moments–so that even when it’s simply chugging along, it’s still a very enjoyable show. But for a season premiere, “The Red Woman” was a bit underwhelming.
It wasn’t bad, mind you. There were plenty of exciting moments, surprising twists, and interesting developments. But there was little to make you sit up and take notice of a series at the height of its powers moving toward its end game, save for perhaps one scene.
Empathy can pull us in strange directions. When we see someone who has been wronged, we want justice for them. We want the people who have perpetrated that wrong to pay for their crimes. We share in the victim’s anger and root for their revenge. But show us someone suffering and we will empathize with them just as strongly. We pity the person in pain, and want their suffering to end.
What makes these impulses peculiar is that sometimes they conflict. Sometimes the person suffering is the same perpetrator of the original wrong, and yet we still feel for them in their anguish. Show us someone being broken, physically, mentally, or spiritually, and we cannot help but feel sorry for them, even if the ills they’re enduring are wholly deserved and well-earned.