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Tag Archives: Jamie Lannister
Game of Thrones likes to have its cake and eat it, too, especially when it comes to war and its wide-ranging consequences. It’s a show founded on a sense of anticipation. When will the Starks reunite? When will Daenerys Targaryen lay siege to Westeros? When will The White Walkers breach The Wall? But it’s equally founded on depicting the horror and unexpected costs of those convergence points.
That means its heart-pumping battles and heart-warming reunions are always in a state of superposition. Those moments are exhilarating but also harrowing. Home is a sanctuary, but home has changed. And war is glorious, but war is also hell.
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.
“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.