It's hard to explain to anyone who doesn't watch "Game of Thrones" just how good, how painful, how gratuitous, how spectacular it is without feeling like you're still underselling it. With the scope of a big-budget Hollywood blockbuster, but the fascinating characters and taught pacing of its novels, "Game of Thrones" has become all but the biggest, grandest show on television, and increases its numbers of rabid fans every year. It isn't without its share of controversy- in fact, it may well be one of the most controversial television shows ever, and has frequently come under fire (just this season, in fact,) for its graphic and often pointless depictions of rape, its excessive nudity and horrific violence, and its seeming use of women as props for the development of male characters. Despite this, or perhaps in some sense because of it, the show has flourished and continued telling its detailed, intimate, multifaceted story for the last 5 seasons.
"Thrones" established from its first season that it was different from most television shows as far as its handling of the main characters. When Ned Stark lost his head in Season 1, it felt unprecedented. Not only was he clearly and obviously "the good guy," but he was ON THE FREAKING POSTER. He was the LEAD, played by a Hollywood celebrity. Many didn't believe he was actually deadd- I certainly didn't. Most shows don't axe off their main character in season one and then carry on telling the story of individuals who had seemed until now to be side characters. Since then, it has become clear that Ned Stark's death was not the main story, but the device that sets a much larger, much grander story in motion. There is no "good guy," and there is no clear winner. All the characters have goals and obstacles in the way of those goals, and watching all these lives work together, through destruction, war, abuse, and horror, as they hurtle toward one final crescendo, is positively fascinating.
After a relatively dull Season 4 (by Thrones standards, anyway) Season 5 came back roaring into full dragon mode, complete with controversy, violence, and of course, the deaths of several characters who, until now, have been considered central to the plot. Every season of "Thrones" has at its core a central idea that most of the characters are struggling with. This season, many of our main characters (Jon Snow, Stannis Baratheon, Daenerys Targaryen, and Cersei Lannister, specifically,) have been learning a hard lesson: that conquering and ruling are not one and the same, and that the former is significantly easier than the latter. Let's review the season, shall we, and see what they learned?
Best Use of Plot Device: The Flashback
Until the first episode of this season, "Thrones" didn't do flashbacks. There was much hullabaloo and speculation this season, once it was announced that there would be a flashback scene, that the flashback in question would contain Ned Stark, making his first appearance since losing his head in Season 1. Not so- this flashback belonged to Cersei Lannister, who is shown in the season's opening scene as a bratty, self assured teenager bossing her friend around. This was not only our first glimpse of the Lannister home, Casterly Rock (or at least its... forest), but our first view into something book readers have known for years: Cersei, as power hungry as she is, has always been driven by a terrible prophecy once given to her by a fortuneteller, Maggy the Frog. In the flashback, Young Cersei badgers Maggy into telling her future. Maggy concludes that Cersei will bear 3 children, and that they'll all have "golden crowns, and golden shrouds," and that, though she will be queen, she will only be queen until another, younger and more beautiful, comes to cast her down and take everything she holds dear. This does explain Cersei's merciless dislike of Margaery Tyrell, as well as her obsessive protection of her children. All mothers want to protect their children at all costs, but Cersei's has always bordered on fanatic, and now we know why- she's expecting their deaths at any moment. Which brings us to...
Most Useless Subplot: Jaime's Mission to Dorne-
In every season of "Thrones," there at least half a dozen plots running at once, and though most of them hit all the right notes, there are always at least 2 that land with thuds. This season, Brienne and Podrick's subplot came close, but the subplot involving Jaime and Ser Bronn being sent to Dorne to bring Princess Myrcella home was the biggest waste of good talent. Despite the likability of Jaime and Bronn, their chemistry never really connected, and it never felt that there was any real reason for them to be there, other than simply giving Jaime some excuse to get out of Cersei's way. Much of the plot was spent with a character who used to be significant (Ellaria Sand, bitter and pissy, but remarkably unthreatening), and three characters who were hyped as being really effective and badass (The Sand Snakes) who were actually pretty useless. Oberyn Martell's snappy daughters were introduced as a real threat to Jaime and Bronn, but in reality, said 20 lines between them all season and didn't actually hurt anyone. (But of course, despite their overall incompetence, the showrunners still found a way to get one of them naked.) There was some speculation that Jaime would die in Dorne, but nope- the outcome of the entire Dorne plot is that Myrcella is dead, Jaime has officially failed at protecting yet another child (something Cersei certainly will not take well) and Prince Trystane is bound for Dorne. Is war on the horizon? Of course it is.
Best Mix of Hilarious and Uncomfortable- Tommen and Margaery's Wedding Night
As heavy and depressing as Thrones can be, it always finds some way for us to laugh- either because something is actually funny, or because it's awkward. This season, we were treated to a scene that was both- the consummation of the marriage of 13 year old King Tommen, and Queen Margaery (played by actual-30 something Natalie Dormer.) Fortunately, "Thrones" spares us the actual act itself (phew!) and shows us the aftermath- a glowy eyed pubescent Tommen gasping with joy after losing his virginity to his much more experienced, much older wife. He then parrots a line that I'm sure all teenage boys think after their first sexual experience: "This is all I want to do every day, all day long."
Most Confusing Plot- Arya Stark and The House of Black and White
Arya Stark has consistently been a fan favorite, and most viewers were unanimously excited to see her travel to Braavos to become a trained assassin with the Faceless Men. However, the showrunners weren't too anxious to clue us in on exactly what the House of Black and White is. It looks amazing- halls of faces, presumably of dead people, as well as a team of mysterious workers who claim to serve the Many-Faced God. But after a whole season and several searches on Google, I'm still not sure at all what the actual function of the whole establishment is. It was a cool plot, and anything that ends with Arya stabbing Ser Meryn Trant in the eyeball is well spent, but I'd be lying if I said I still don't have a lot of questions.
Most Improved Plotline- Jon Snow, the Night's Watch, and the White Walkers
Until this season, I have no shits to give about The Wall. For the last four seasons, it has been the weakest plot with the most uninteresting characters, and I have always felt that all the action screeched to a halt any time the members of the Watch were on screen. Before Season 5 began, I was rooting for Jon Snow to die this season and let us be done with it. Ironically, Jon Snow did die this season, and after the remarkable season he had, when he finally rose to real leadership, after we finally saw the true threat of the White Walkers, and after the mopey boy he's been for 4 seasons rose to be a strong man, I am sorry that he's gone. (Don't listen to me anymore, D&D!) Jon may have gone out during the season finale, his blood pooling in the snow after being murdered by his fellow Crows, but he left behind a remarkable season. From his bold act of mercy with Mance Rayder (more on that in a moment,) to his bravery in the face of an oncoming hoarde of White Walkers, Jon Snow was without a doubt the MVP of Season 5. Kit Harington, who plays Jon Snow, has definitively said he is not returning for Season 6 and that Jon is dead. However, there are many theories about how dead is dead- will Melisandre resurrect him with the power of the Lord of Light? Will he return as a White Walker? Here's hoping!
Most Moving Death- Mance Rayder, "The Wars to Come"
Don't send your dragons after me just yet! Hear me out. While most people would say (with a lot of good reason) that the most wrenching death of the season was poor Shireen Baratheon, whose own father tied her to a stake and set her ablaze in his hopes to procure his own victory. Make no mistake: I sobbed like a baby over the loss of Shireen, and the screaming agony that her father put her through. However, the most moving and thematically important death, in my mind, was that of Mance Rayder, the king of the Wildlings, who faced his own funeral pyre with a sort of unpitying, self-collected dignity. Stannis Baratheon offered him a very good deal- he could join align with Stannis and offer his people for Stannis' army, and in return, Stannis would offer them land, safety, and their lives. Mance kindly but firmly refuses to bend his knee. He believes it more important to stand true to his ideals and to not offer up his people without their consent than it is to live, even when faced with the agony of a death by fire. The scene is brutal to watch- the camera stays tight on Mance's anguished face and his bitten lip, trying desperately not to scream or cry and die with dignity. When Jon puts an arrow through his heart, it's an act of mercy that sets Jon up as a traitor. In that way, Jon steps forward as a strong hero, which he has never been before, and like the death of Ned Stark, the death of Mance Rayder sets in motion a much larger, much more important story.
Most Impressive Rise (and Fall) of a Character: Stannis Baratheon
The Battle of the Five Kings would not have been the same (or nearly as gripping) without Stannis Baratheon, the dour, militaristic older brother of King Robert Baratheon. He has been fighting for his claim to the Iron Throne since Season 2, when he was defeated miserably in the Battle of Blackwater Bay. After his defeat, he spent about 2 whole seasons moping around his large dinner table and roasting people alive at the behest of his charlatan mistress Melisandre, who claims to speak for the Lord of Light. Of all the warring rulers hoping to earn the throne, Stannis seems to be the best bet. He's protective of those in his charge and takes ruling seriously. In Season 4, when the Night's Watch frantically calls for help against the Wildling invaders, Stannis is the only one who comes to their aid, despite having the smallest army and the most to lose. Stannis is a man of practice- fair, but disciplined, strong, stubborn, but protective. One would not automatically peg him as the religious fanatic type. The difference is that Lord of Light has made himself known- Melisandre used the Lord of Light's divine magic to snuff out his enemies, notably his brother Renly, and therefore, feels that betting on the Lord of Light is a safe bet. Things go well for Stannis most of this season- he makes from Castle Black with an army in tow, and is headed to Winterfell, where he hopes to trounce the Boltons and recruit the Northmen for his army. Unfortunately, however, the Lord of Light doesn't seem to be enough. After sacrificing his only daughter, whom he loves more than he will openly admit, Stannis finds himself abandoned by his troops (turns out roasting your own daughter alive doesn't inspire ardor and devotion in the hearts of soldiers) and Melisandre, who hightails it back to Castle Black as fast as she can go. He also loses his wife Selyse, who, despite being possibly the Worst Mother in Westeros, cannot bear to live after the death of her daughter.
Stannis' decision to burn Shireen is set up from the beginning, but seems too horrific to be true, mostly because of one small scene early in the season in which Stannis tells his daughter the story of her birth, and how it was he who accidentally caused her to be marked with Greyscale by giving her a poisoned toy. Though he never admits openly that he loves her, in his own gruff way it becomes very apparent, and the audience feels instant sympathy with this pragmatic, hard, but loving man... so much so that we as the audience develop a bit of amnesia about his history. We forgot that he has been setting people on fire at Melisandre's behest, including his own brother in law, since the beginning. There's no way he can be the fair ruler that he wants to be and feels himself to be- he doesn't feel any qualms about killing people in a horrific way if the act is a mean to his end. After his small army is quickly slaughtered by the large Bolton one, Stannis is left to be killed by a woman he has never even met- Brienne of Tarth, here to avenge the murder of Renly Baratheon. Stannis doesn't fight her- he just says matter-of-factly, "Do your duty." His was a truly fascinating journey- oh, what might have been.
Best New Character- The High Sparrow
Religious zealotry was a huge theme across Westeros this season- the Sons of the Harpy in Meereen, the Faceless Men in Braavos, Melisandre and Stannis with the Lord of Light, and the Faith Militant in King's Landing. The latter is unique in that it rose to prominence entirely by the short-sighted authority of the Queen Regent, Queen Cersei (but we'll get to that later.) The leader of the Faith Militant, the High Sparrow, was a fascinating addition to the cast because there has been no one like him so far. Humble, unambitious, and yet persuasive, the High Sparrow is a leader most of Westeros can get behind... so long as they don't commit any sins. He longs to return to a simpler time of faith, piety, and humility, before the septs were adorned with gold and silver, before the High Septons were found in brothels fornicating with prostitutes dressed as goddesses, when alters were made of simple wood by pious hands. When Cersei hands him the key to rooting out sin, he does just that. The main aspect of his character that is so confounding to the power players in Westeros is that he doesn't want material things. Lady Olenna, until now the most formidable force in the seven kingdoms, offers him more gold than he could ever spend, titles, lordships, anything he wants. He doesn't want it. He doesn't seek power in the traditional sense, and he doesn't seek money or pleasure. He wants to restore righteousness, and once handed the keys to do so, exercises it to his full ability. I imagine we'll see a good deal more of the High Sparrow in Season 6, during the trials of Cersei, Margaery, and Loras, and I hope at some point we find the chink in this holy mans' armor- if he has one.
Most Uninspired Character Death
When Myrcella Baratheon resurfaced in Dorne after being absent for three seasons, the world collectively said, "Oh. I remember her." And when she rather unceremoniously died after a poisoned kiss from Ellaria Sand, the world responded with similar apathy: "Meh." Myrcella's brief time as a figure in Dorne used her mostly as a plot device rather than a character. The delicate, beautiful princess in love with her prince and her adopted homeland existed pretty much to a) give Jaime somewhere to go, b) fulfill another fearful part of Cersei's dreaded prophecy, and c) to start a war between Dorne and Westeros. She lived just long enough to finally hear the truth about her parentage, and she took it pretty well- that whole "your parents are actually brother and sister and you are a bastard child of incest and your mother is your aunt and your father is also your uncle" barely phased her. I believe her death was meant to strike a note of great tragedy, with Jaime having just felt his first pangs of fatherly love for his child, but mostly it was just empty. And nothing of value was lost that day.
Most Satisfying Meeting- Daenerys Targaryen and Tyrion Lannister
Book purists be damned- Daenerys and Tyrion in the same room was a gift from the Lord of Light himself, and I absolutely loved it. This was a battle of two sharp wits, and the tension (and mutual admiration) in the room was tangible. Tyrion, drunk and in full "talk my way out of trouble" mdoe, and Dany, making sure her queenly authority is in place, had two different conversations about what they can do for each other, with Dany even calling on Tyrion's advisement about what to do with Ser Jorah. This was a scene fraught with crackling dialogue and excellent tension, and gave me a lot of hope about any further encounters they would have together. (Unfortunately, Daenerys flew away on a dragon just an episode later and my hopes were dashed.)
Most Controversial Moment: The Rape of Sansa
Every season of Game of Thrones has its "talked about" moment, where the critics and audience are left with even more to chew on then normal. Many of these moments center in some way around rape- the show has been often criticized- justly- about its use of rape as a plot device, and its excessive, graphic showings of the violence its female characters face on a daily basis. When Sansa Stark married brutal sociopath Ramsay Bolton, we all collectively shuddered, but we couldn't have been prepared for the torturous scene to follow. Poor, abused Sansa, who has suffered so much with such dignity and courage, was horrifically raped. Even for Thrones, it seemed a low blow, and many swore the show off for good after the incident.
For my personal take, I found it to be one of the least terrible rape scenes the show has ever done. Don't get me wrong- it was terrible. The ending of the show literally made me feel sick. However, my problem with Thrones isn't that it features rape frequently, it's that it features it thoughtlessly. So many female characters on the show are assaulted or threatened with assault when there seems to be no reason for it. There is no payoff, there is no reason for it. It's just something that the show uses to remind us that the world is scary, and that women are treated terribly.
For contrast, let's talk about last season's controversial rape scene, which the showrunners didn't think was a rape scene at all. This one featured Jaime and Cersei, on the day of their son's funeral- right next to his corpse, actually. Though they are lovers, Cersei has been very cold to her brother since his return from captivity, and through their mutual grief, they connect with each other again. When Cersei attempts to pull away, repulsed by his golden hand, Jaime cries, "Why have the gods made me love a hateful woman?" He then pulls her into a passionate embrace, as she tries to pull away and clearly cries no. "It's not right!" she screams. "It's not right!" He pulls her to the ground and repeatedly says, "I don't care," over and over and over. Clearly, this is a rape scene. It definitely is. And it comes out of nowhere. Jaime has been on redemption road as a character, and we were beginning to really root for and sympathize with him. Then, all of a sudden, he rapes his sister next to the corpse of his son/nephew. And then, it was never spoken of again or addressed. A drive-by assault, if you will.
When controversy broke out over the abruptness and pointlessness of the violence against Cersei, the showrunners were dumbfounded. They legitimately did not believe they had written a rape scene, instead believing that they had written a passionate love scene. They insisted that Cersei did in fact want to have sex with Jaime, and that it "became consensual by the end." NO. That is not how it works.
In this case, we have seen since season two that Ramsay Bolton is a monster. He is a sociopath who enjoys flaying and burning people, has tortured Theon Greyjoy to the point of being a shell of his former self, and has a truly sick love of exerting power over others. He is ruthless, cold, and cruel in a way that Joffrey only dreamed of. There is zero room for him to be anything other than a monster to Sansa. It makes perfect sense that, once he has acquired his beautiful, highborn bride, that he would exert dominance over her and bully her into submitting totally to him right away. Was the scene nauseating and terrible to watch? Absolutely. Did it make narrative sense? Yes- unlike the rape of Cersei, which heretofore has never been mentioned again by either character and seems to have had zero impact on Cersei, the rape of Sansa is both earned, and traumatic. It changes who she is, and gives her the courage to make a break for it once and for all. This existed for a reason in the story, and that's what makes this horrifying scene worth it in my mind. But then, of course, that is entirely my perception.
