Having now had a good few weeks to think about the most recent season of Game of Thrones, I thought I would set down a few of those reflections on what worked and what didn’t in this most recent season of HBO’s most popular series. Overall, this season delivered on some promises and left enough open so that our desires remain at least partially unfulfilled.
To begin with, this season marked some significant developments in terms of the violence against women problem (which has long remained one of my most consistent critiques of the series). Ramsay’s terrifying rape of Sansa, while filtered through Theon’s perspective (we never actually see it take place on screen), stands out to me as one of the more nuanced and heartrending scenes of such violence. Further, the juxtaposition of that horror with Stannis’s sacrifice of his daughter Shireen in order to gain the favour of the god R’hollor, makes it clear just how little this world values its women. However, this season does seem to be a bit more critical of that cultural phenomenon than in seasons past, rather than using such violence as a flimsy excuse to show off the naked bodies of its female characters.
Similarly, I felt that Cersei’s storyline this season was also on-point. The High Sparrow manages to be both paternal and patriarchal, charismatic and charmingly ruthless as he lays deep plans to topple the leaders of the Great Houses (the confrontation between him and the Queen of Thrones out as one of the best the series has yet produced). Cersei’s penitent march through King’s Landing, similarly, highlights this season’s investment in pointing out the patriarchal hypocrisy of Westeros. And her final scene, in which she is carried offscreen by her giant protector (a presumably zombie-fied Gregor Clegane), is one of the most chilling I have yet seen in Game of Thrones, with its sinister suggestion that her desire for revenge may not only spell her own doom, but also that of everyone around her.
However, this season stumbled with a few of its other key female characters. While I have always found Maisie Williams’s Arya to be one of the series’ finest creations (in both book and television form), this season feels like a bit of a misstep. For much of the time, it has felt like Arya is merely spinning her wheels in Braavos, with the series desperately trying to maintain our collective interest in her rather staid storylines. The same is true of Brienne; due to the fact that the series has eschewed the Lady Stoneheart plot (much to my dismay and anger), she is left with very little to do except chase Sansa around the North. Even her last-minute (presumed) slaying of Stannis does only a little to mitigate the way in which the series wasted her character this season.
Overall, I felt that the the season did a great job streamlining portions of the last two of Martin’s published volumes in “A Song of Ice and Fire.” Many readers, myself included, felt that both A Feast for Crows and A Dance with Dragons became too sprawling, falling victim to the long-standing curse of epic fantasy, in which the author becomes too enamoured of ancillary story-lines that ultimately encumber and distract from the core characters. Thus, while some may be upset that the adaptation has done away with such side characters as the Martell siblings Arianne and Quentyn, I felt from the beginning that it was a brilliant and necessary move (considering the fact that the former continues to flounder and the latter is dead by the end of Dance, I can’t help but think the novels would have been better without them).
I know that I, for one, am both excited and a little nervous that the HBO series has now moved beyond the pale of Martin’s published work. Of course, some of this is allayed by the fact that Martin has given the producers an indication of the final trajectory of his series. Details about how next season will shape up have been rather sparse so far, but I am curious how they are going to deal with the fact that so many of the series’ characters are so far scattered. Perhaps, as the rumor mill has suggested, the series will institute a time jump so that the various characters can finally break out of their narrative prisons (this would certainly help the books along). Or perhaps this will happen in the series’ (presumed) seventh season, or maybe even later (if/when it makes its leap from the small to the big screen).
Whatever happens, the series seems to have really found its stride, showcasing what can be achieved when the medium of television is allowed the budget and the freedom to invest in serious and complex storytelling.