“Promise you’ll protect me” – Shireen Baratheon to Davos….my God, please don’t be foreshadowing!
After the rollercoaster ride that was last week’s episode, Kill the Boy, with its ominous title, was a brilliant reminder of how great this show can be sometimes. Apart from the fact that, on the intro map, the Water Gardens is listed as Dorne. I…um…not sure what happened there. Anyway, without any King’s Landing drama, this week’s episode saw us spending a lot of time up North and across the sea. So let’s start at the Wall.
Jon’s always been a fan favourite, but it’s interesting to see him really take a deserved leadership role, whilst encountering hardships. Moreover, it’s great to see that the King of Grammar, Stannis, is becoming more book-inspired; hopefully, fans of the show will now be able to see why he is such a favourite to book readers. It was even more refreshing, like an ice-cool glass of OJ, to hear Stannis’ ulterior motives instead of just “it’s mine by right” – in this episode, he actually mentions saving the realm from the White Walkers. Previously, it’s just been Melisandre banging on about this, with Stannis uttering his aforementioned mantra. Finally, now, we see that the One True King really does care about protecting his people. However, if TV has taught me anything, it’s that when we get an expositional monologue, or develop a sudden fondness to a character, it probably means they are going to die. This is purely speculation, as book Stannis now spends a few hundred pages trekking through snow, but I fear for the Mannis’ life. Fingers crossed. Will the season end with a Bolton/Baratheon brawl? The title of the episode, Kill the Boy, is taken from a rather pithy quote from Maester Aemon: “kill the boy and let the man be born”. He says this, as we know, to Jon. The meaning of this is pretty straight forward: to become a true leader, Jon must overcome any inhibitions he has about himself (think back to an Alliser Thorne quote – “if [a leader] starts second-guessing himself, that’s the end”). He must metaphorically kill this boy, so that the man inside him may flourish like a flower. But more bad-ass. Of course, with all episode titles, this probably refers to something else. But what….
Before we move on, I thought I’d give a bit of information about the Citadel, which Sam mentions. In the southwest of Westeros lies the oldest known city: Oldtown. This beautiful port city houses a population of around 500,000, equal to that of King’s Landing, but lacks to squalor of its somewhat sister city. Oldtown is governed by the Hightowers, who are powerful allies to the Tyrells. Notable Hightowers include Ser Gerold Hightower, who was the Lord Commander of the Kingsguard during Aerys Targaryen’s rein. Oldtown is home to a structure known as the Citadel. Well, multiple structures to be technical. These buildings act as a college of sorts where maesters are trained. I’m sure we are all familiar with maesters now – essentially the doctors, scholars, scientists and academics of Westeros. You may have noticed, through watching characters such as Luwin, Pycelle or Qyburn, that they wear chains. Each link of the chain symbolises an accomplishment, for example, a bronze link represents knowledge of astronomy, where steel is smithing. As you might imagine, the Citadel also houses the largest library in Westeros.
Anyway, Bolton/Baratheon brawl, etc. etc., “kill the boy”…oh yeah. So I thought that this could also tenuously link to Ramsay’s motifs after Roose announces that his wife Walda is preggo. Ramsay is obviously very worried about his position, but through a heart-warming speech about rape and murder, we learn that Roose does actually kind of care for him. It also allows us to see how evil Roose actually is. Cold, calculating; you would be mistaken for thinking he was a lot like Tywin. But Roose doesn’t mind getting his hands dirty – and beyond. In fact, he rather enjoys it. And so Sansa’s torture begins….
Across the sea then, sad to see that Barristan Selmy is indeed dead. Like I said before, this doesn’t happen in the books, so his death was greeted with a mixed response from many. I am pleased, however, that they addressed how awful it was in the episode – Daenerys says something about him being cut down in an alleyway. But at least Grey Worm still lives! Having served the Mad King Aerys, Barristan served as a font of reason for Dany…but with him gone, one wonders what slightly mad decisions Daenerys might make. Like, you know, burning a possibly innocent man alive. Her quote “we’ll let the dragons decide” could well be a throwback to Aerys, who would often ‘let fire decide’ the fate of those who upset him. Nice to see a bit of gore though, wasn’t it? Feels like it’s been a while. By marrying Hizdahr zo Loraq, Daenerys hopes to bring an end to the bloodshed caused by the Sons of the Harpy. But who is/are the Harpy? Will this appease them? Her story currently parallels what is going on in the books: book Hizdahr, in a similar manner to the show, continuously bugs Daenerys about reopening the fighting pits. Eventually, he outright buys them. Daenerys still proposes marriage, though in a more roundabout way, and he seems a little more eager than he does in the show to accept.
The episode concluded with a Tyrion/Jorah scene. If you look at a map of Essos, you’ll notice that between Volantis (where Tyrion was captured) and Meereen (where Dany resides) is Valyria. You probably have an informed knowledge of Valyria, but the gist of it is this: Valyria was a metropolis of advancement. Years ahead of any other city in the world, Valyria was the grandest of its time. Dragons flew about the skies, and it was also the ancestral home of the Targaryens. One day, however, the Doom came. Nobody really knows why, but a chain of volcanos suddenly erupted, destroying the city and desolating the land for miles around. Now, it’s a wasteland, with many people believing it is cursed and haunted. Jorah choses to navigate part of the waters for two reasons: it’s quicker, and there are no pirates. There is, however, a more serious threat: the Stone Men. We have been introduced to the disease of Greyscale through Shireen Baratheon. She, however, was cured…albeit horrifically scarred. Some aren’t so lucky. Many of these are taken to this region of Valyria, known as the Sorrows, and left. These Stone Men eventually succumb to the disease, robbing them of their wits and, eventually, life. The disease is contracted if they touch your flesh. Think a zombie bite. Oh Jorah… We see here that he is taking on the mantle of a book-only character called Jon Connington – whose story has been completely omitted – who contracts the disease whilst travelling with Tyrion before he is kidnapped. Phew. Anyway, next week’s episode is titled Unbowed, Unbent, Unbroken, which, as well all know, are House Martell’s words. Fingers crossed we get to see why they are the most awesomest of the Westeros houses!
Murder! But who dun it?
Ok, the ending of “The Lion and the Rose” was arguably the most climatic scene in the episode, so we’ll pop on to that last. Firstly, let’s look at some new characters and concepts introduced.
Mace Tyrell, the Lord “Oaf” of Highgarden. Mace is Margery and Loras’ father, and Olenna’s (the Queen of Thorns) son. We don’t see too much of him in this episode, but what we do is fantastic. Mace is supposed to be a bumbling fool – on paper, he may be the head of the family, but everyone knows that really it’s his mother ruling the roost. Roger Ashton-Griffiths does a fantastic job of perfecting Mace’s ridiculous facial expressions, mannerisms and characteristics; the epitome being the scene where he’s plodding down the stairs, looking so chuffed with himself, to acknowledge his other… who completely disregards him. Also, that facial hair.
Meanwhile, in the north (not the NORTH north, just the north) we get to spend some loving time with Ramsay, Reek and a girl called Myranda. Myranda is a character created solely for the show, though as of yet I’m not entirely sure why. She was one of the minxs that tantalised Theon before Ramsay cut off his todger. In the books, Ramsay has a band of merry men called “The Bastards Boys” who do his bidding. Myranda seems to have replaced them in the show. I’m still not sure how I feel about this, as having a female counterpart arguably humanises Ramsay, and shows that he does hold compassion towards some people. But we shall see, eh?
Briefly we also saw Roose Bolton’s new wife, Fat Walda. If you cast your minds back to episode 3.09 (prior to the Red Wedding), Roose explains to Catelyn that Walder Frey said that if Roose would marry one of his daughters or granddaughters, he could have her weight in gold. So, Roose, the sneaky devil, chose the fattest one he could find. Oh Fat Walda, you don’t know what you’ve gotten yourself in to…
M’kay, scene and themes breakdown. Firstly, Alfie Allen’s portrayal of Reek was…incredible. Every tiny movement was thought out – the way he hobbled along during the forest, the way he barely looks Roose or Ramsay in the eye, and the sheer heartbreak you see on his face when he learns of Robb’s fate. There has been some criticism that his transition from Theon to Reek was too rapid, but I don’t think there was really any other way they could show the ‘brainwashing’ without it getting boring and tedious. I mean, judging from the state that Theon was in at the end of the last season, you can imagine how much torture he must have gone through up to this point.
Staying with the Boltons (sounds like a sitcom), it was great seeing some interactions between Roose and Ramsay. Ramsay seems to have major daddy issues, and is constantly reminded that he is a Snow, not a Bolton. Parallels can be drawn here with Oberyn and Ellaria Sand discussing bastards with Cersei and Tywin in King’s Landing: “bastards are born of passion”. Dorne has a completely different way of looking at bastards compared to the rest of Westeros. Just look at Jon, for example. He joined the Night’s Watch because he knew that, as a bastard, he would inherit nothing, and become nothing. Ramsey probably feels the same way. Bastards are frowned upon in the majority of Westeros, whereas in Dorne they are accepted for who they are, not what they are.
Over on Dragonstone, we were reintroduced to Stannis’ lovely wife Selyse, and get a deeper look into his belief in Melisandre’s god. The scene opened with some sacrificial burnings. No biggie. One of the lucky chosen was Selyse’s brother, Axell Florent. It’s becoming clearer and clearer that Stannis is becoming obsessed with obtaining the Iron Throne through any means. He seems Melisandre as his key, and doesn’t seem to mind if he has to use black magic to obtain his goal. I mean, we’ve already seen Melisandre birth Shadow Baby, so what else is she capable of?
In the north north north north, Bran is becoming a moody teenager who just wants to be a wolf. The three that he caresses is a weirwood tree (also known as a heart tree). These trees have been mentioned a few times (one appears prominently in Winterfell) as they are remnants of the Old Gods. The trees all have faces carved into them, which, combined with the blood-red sap, makes them look like they are crying. Upon touching the tree, Bran is presented with a strange and interesting vision that hasn’t been getting enough internet attention!! This is Game of Thrones, so one can assume that all the visions had some significance somehow: Ned in the black cells, Ned honing Ice, Bran falling, the three-eyed raven, the crowstorm from when Sam killed the White Walker, the undead horse, and, perhaps most prominent, King’s Landing: once covered by the shadow of a dragon, and again in the throne room. This one, if you remember, is exactly the same as Daenerys’ vision at the end of season 2 – the Red Keep, destroyed, coated in snow (or perhaps ash?), in ruins. Is Bran seeing what is to come, what may come, or what has come? Either way, a voice spoke out to him, and now he must continue north north north north…north.
Alright, King’s Landing. It’s wedding day. And OH MY GOD SO MUCH FORESHADOWING. Let’s firstly pay quick homage to the scene between Jaime and Bronn sparring. In the books, Jaime enlists the help of mute Ilyn Payne (the King’s Justice), but tragically, Payne’s actor, musician Wilko Johnson, has terminal cancer and will not be reprising his role. The choice to have Bronn step up to the mark, however, was a great one by the show’s writers. At this point in the books, Bronn kind of drifts off into the background, for the most part. But Jerome Flynn’s portrayal of the sellsword has been brilliant, and it makes sense for him to remain in King’s Landing as a semi-prominent role: Jaime needs someone who will be discreet – if word got out that he could no longer fight, he would lose his dignity and what little remains of his honour. That, or if his king died whilst he was supposed to be protecting him. Oops. Plus, we get to see some awesome banter between him and Jaime.
Ok, right, the Purple Wedding. I think that a lot of respect needs to be paid to everyone that made this scene possible. It’s shot in real time, and features (I think) the most members of cast in one place at a time. It managed to jump from character to character, without feeling disjointed or erred. It would have been nice to see more of the actual wedding, but the afterparty was where it’s at. So, Joffrey’s dead, eh? That makeup was outstanding. In fact, that whole scene in general was just…ahh. I imagine his death was met with screams of both joy and regret – joy because he is an evil bastard (heh) and regret because he’s such a good character, and Jack Gleeson played him brilliantly. It’s a shame to see such a talented actor go: it’s something really special to make an entire fan base absolutely loath and despise you! Jaime and Brienne’s inclusion at the wedding was interesting too, as in the books they’re not near King’s Landing at this point. Though one thing that did bug me was Brienne’s lack of interaction with Sansa – you’d think that she would at least acknowledge her, maybe mention her mother or something, instead of just walking straight past her. But Jaime’s presence added a new level of emotion: as mentioned, all he can do now is protect the king. I think that he is aware that Joffrey is his son, but his sprint to the dying king’s side wasn’t out of love for a child – it was because he knew that this was his one task, his one duty, his one chance to redeem himself. And he failed. That’s just my opinion anyway. Having a ‘villain’ die can often feel a bit clichéd, but this scene was written and shot in such a way that, in the end, we’re looking at a scared child, looking to his mother to help, and she watches her firstborn die in her arms. It really humanised both Cersei and Joffrey, even if for only a second. Sidenote, on recasting, that blond boy sat next to Cersei was Tommen, the youngest of Cersei and
Robert’s Jaime’s children. He was played by a different actor in previous seasons, but has recently been replaced. The actor playing him now actually played Martyn Lannister – one of the children that Robb captured before Rickard Karstark murdered them.
So, who did it, and how was it done? Was it Tyrion? What about Sansa, escaping with Dontos at the end? Could it have been Oberyn, with his hatred for Lannisters and knowledge of poison? Or the Tyrells, perhaps? Tywin, wanting to be rid of a useless king? Maybe Melisandre and her leeches – remember them? If you would like to find out, there have been a few explanations as to how it was brilliantly done and filmed online, such as this one nyah – http://imgur.com/a/2DtPH (click at your own risk!).
So that’s it for “The Lion and the Rose”. Next week’s episode, entitled “Breaker of Chains”, will have Westeros realling in the aftermath of the Purple Wedding. Who sits on the Iron Throne now? Dun dun duuuuun.
Also, don’t go to a wedding in Westeros.