Some Game of Thrones episodes can feel as though we’re like Bran, warging from one perspective to the next, dropping in on one story and moving to another one as if we’re slipping into different skins at random. “Oathkeeper” flows masterfully—it seemed as though each scene was designed to pique our interest in an offscreen character and plotline, only to switch over to that character or storyline moments later. Following its tremendous opening segment in which Daenerys demonstrates that she might be one of the types of leaders Tywin denounced last week in his conversation with Tommen—the type who seeks only justice—we’re treated to a nifty sequence of twosomes. Jaime and Bronn prove as entertaining a pair as could be expected, exchanging blows and barbs until their banter turns to the subject of Tyrion. Enter Tyrion’s prison cell, and a beautifully blocked scene where Jaime is seated on the ground across from his brother, a visual and spatial signal that they are, at this moment, equals. Just as Tyrion unequivocally dismisses Sansa of any involvement in Joffrey’s murder, we return to Sansa listening to Littlefinger brag about his poisonous plot, which leads in to Lady Olenna revealing to Margaery her role in the Purple Wedding. While its exposition may clunk for some, these transitions were seamless.
Finally, I’m already beginning to see entirely contradictory reactions to the presentation of Jaime in this episode in relation to his reprehensible assault on Cersei in “Breaker of Chains,” so I’d like to address it a little bit. Reactions like these get at a larger issue I have with some popular interpretations of TV and movies, where conclusions are jumped to in an unfortunately foregone fashion, and even made out to be simple and obvious. I found this week’s scene between the Lannister twins to be wrought with subtext, though apparently others seem to differ on this point. Jaime’s usual admonishment of Cersei for heavy drinking goes unspoken here, as does her refusal to look at him, except for those moments when she’s hurling insults or accusations of treason. The show addresses the sexual violence by not addressing it, which makes it more potent and painful. It plays like a relationship, which was previously on the brink, made irreparable by a horrific incident, without the need for one of them to say “soooo about that rape…”
Criticisms are also being made of the depictions of sexual brutality in Craster’s Keep. It’s to the point that respected writers are questioning whether the creative team members behind Game of Thrones take secret pleasure in portraying acts of depravity. I thought this was settled during the whole debate over The Wolf of Wall Street or even Zero Dark Thirty, but here is the key point once more: depiction does not equal endorsement (you know, the same with retweets). I understand the repulsion to seeing such violence and deplorable treatment of women on screen, but I interpret the casualty with which it’s rendered (is it better if it’s hinted at off-screen? Or shown out of focus as the majority of it is in this episode?) contributes to the general effect of the depraved conditions and morals of this band of mutineers. The assumption that you, the viewer, obviously has a greater sense of representative ethics than the presenter is something that at least warrants some pause. If that makes sense.
It’s arguable that the point of this entire show is that the few noble people in this world created by George R.R. Martin—the Briennes, the Neds, the Jon Snows—are so vastly outnumbered by Joffreys and Gregor Cleganes that the only just action to take towards humanity would be to wipe them all out. It’s the heart of the Noah story, marvelously expressed by Darren Aronofsky: justice versus mercy. And, along with the continuing theme of adaptability which I’m going to delve into one of these weeks, Game of Thrones casts some fascinating ideas on the nobility of taking an oath to serve justice at the cost of all else.
Additional notes:
- Almost every pairing this week could sustain its own spinoff. Bring on the Amazing Adventures of Brienne and Pod!
- This show’s casting department deserves all the kudos. Or maybe it’s easy to find a character with a face that is begging to be smacked. Aiden Gillen either naturally possesses such a face or is a gifted facial performer.
- Margaery heeding her grandmother’s advice by sexually teasing the (pre?)pubescent Tommen was executed with pinpoint awkwardness.
- Smarter and more seasoned reviewers, or at least more confident ones, find faults in the show. For me, just as I’m beginning to feel weary of Jon Snow’s storyline, the show injects more life into it than ever. This just makes me trust its creators that much more.
- With a lot of the book stuff thrown out in a big way (which again, I have little recollection of), who knows what’s going to happen with Daenerys, although that shot of her on top of Meereen makes it look like she has nowhere to go except down.
For more, listen to the latest episode of our Game of Thrones podcast: The Cast Beyond The Wall!
