"High Sparrow" - Game of Thrones - 5-03

Oldest previously
Renley is stabbity stabbed by Shadow Stannis

Credits
Moat Cailin, Braavos
Still no Dorne.

I'm confused as to how Moat Caitlin fits in.  I thought the Boltons were staged at and reconstructing Winterfell.  That's certainly where they were when Sansa arrived. 

Identity
A common thread this episode is identity.  Specifically the Stark identity.  The name STARK looms large still.

• Jon considers becoming a true Stark
• Arya considers putting her Stark identity behind her
• Sansa considers how to best live up to the Stark name, move foward or bide time for vengeance.

Furthermore, Cersei struggles with her identity as queen, excuse me, Queen Mother or Dowager Queen, as Margarey so helpfully pointed out.  Which leads us to..

Margarey
This is the first time we've seen Margarey be a bit mean spirited to her enemies' faces.  She is killing Cersei with kindness, through the conduit of Tommen, in trying to get her removed back to Casterly Rock. 

When Tommen says hearing King Tommen sounds strange, and he asks Margarey if Queen Margarey sounds strange to here, there is a perfect beat where it's clear those two words are all she's thought about for the longest time. 

Margarey is Cersei from twenty years ago.  Ready to be married to the king or the heir apparent, as Tywin turned down quite a fair match from the Martells (as Oberyn told us last season) in favor of holding out for Rhagaer (in theory) and then Robert (in practice).  Margarey's been queen one way or the other since the start of Season Two with Renley, Joffrey, and now Tommen.

In press, GRRM speaks of prophecy coming true, thought not int he way one expects.  The obvious answer to the flashback prophecy is Margarey.  But there's another younger, more beautiful Queen coming to take the throne (SOMEDAY) and her name is Dany (a queen, not a politician).

Religion
Between the pope, er, High Septon getting caught in the brothel and St. Francis, er, High Sparrow, leading his own movement, there is a lot of religious activity in Westeros, specifically Kings Landing.  It stands to reason that after the land is war torn for years, and with winter coming (as Stannis noted at the Wall) the people shrink back from conflict (think isolationism after WWI) and seek solace in their guns and religion.

Relgiion is featured prominently in Braavos, as Arya learns of the one true got.  And Tyrion encounters a red priestess preaching.  Are they the same god?

Important Time Check!!!
Stannis the Mannis says two weeks until he leaves Castle Black, marching for....Winterfell. 

The North Remembers
Maybe the most important dialoge this week.  Does it signal a secret resistance movement, biding their time, like Sansa?  Twice we're reminded of the North's loyalty to the Starks.  Once when this is said to Sansa, and the other when Ramsey recounts the lord who wouldn't recognize any Warden of the North but a Stark. 

Last week, Stannis (the Mannis) got a reply as well from Bear Island, "There is but one King of the North and his name is STARK

Silvers and Coppers

• Making Thorne First Ranger.  Brilliant or horrible.  No in between.
• Jon's execution of Slynt was sweet, if not too fast.  I thought he resembled Robb more than anything though. 
• And Robb's execution of Karstark (rather than imprisonment), unbending like Stannis, is ultimately what did him in.  Not breaking the marriage vows.
• Who wore it best?
• Sansa
• Speaking of, this storyline is incredibly interesting so long as translates into Sansa maintaining her own agency, rather be the torture toy of yet another sociopath
• Brienne is just as tiresome on the screen as she is on the page
• The more book departures the better.  I love being surprised.  I am very pro different roads to the same end point, much like Brienne and Pod are taking to Winterfell.

Finales: Mad Men and others

A while back I wrote about the upcoming close to Mad Men

Here, part one

here, Part Two

and Here, part three

Overall, I expect it to be closer to a Sopranos ending than a Six Feet Under  one. 

Every show needs to end in the appropriate way for that show.  So, let's go over a few finales and see how they are appropriate

The Sopranos - first in the "television as art" age of the late nineties through now, a show that integrated symbolism and ambiguity throughout its run ends on exactly those notes.  It's the Mona Lisa and the finale is Mona Lisa's smile.

Six Feet Under - the much lauded, emotional finale that brought absolute and complete closure to every character via fast forwards as much as eight decades into the future.  This works for SFU because the show was about mortality and the way we pass, so it only made sense to play this string completely our for our beloved Fischers (& Co.).

But the thing that really made the finale was not the Breath Me montage but the events leading up to it, ie Nate's death.  A show born out of the death of a family member ends with the same.  Nate's AVM hung over the series like a shroud for almost it's entire run.  Each episode include the death of someone, and the reactions of that person's loved ones.  So it only made sense to see the Fischers & Co. reacting to Nate's death. 

Which brings up the idea of starting the finale early...

West Wing - had an incredibly underrated finale.  Between the two campaigns, the current White House and the new occupants, not to mention relationships like CJ and Danny and Josh and Donna, the show had a lot to wrap up.  Which is why they started doing it as early as "Transition", three episodes prior.  It makes sense with a large ensemble.  Thought it closes with a Bartlet and CJ centric episode.  It makes sense as they occupied the WH for all eight years/seven seasons to follow them around as they turn out the lights.  Especially Jed, our generation's collective grandfather, as the show that was never supposed to actually feature the president became his show, he gets the last word.

Justified - you can also go the bookend route.  Call back a lot of images to the show's beginniing.  Justified is a western, an Elmore Leonard, a novel, so it is going to be a little more closed off and clear than say, Sopranos.  And it works.  Like a novel, the questions raised in the first chapter are answered and called back to in the last chapter.  It does so by continuing to do what it had done best for six seasons, beat our expectations every time.

The reactions this article below refers to are why I can't stand to read about television anymore.  Expectations are out of whack and the only way a show can continue to be praised each year is to fly under the radar (like Justified).  Game of Thrones is both everyone's favorite show and everyone's favorite show to complain about. 

I read a great article discussing finales, within the context of Mad Men ending the crux of it is below:

That question is top of mind as we close in on the conclusion of Mad Men, the current program most directly linked to The Sopranos. This isn’t just about creator Matthew Weiner’s three seasons as a writer and producer for Chase, nor the charismatic antiheroes at the two shows’ centers; Mad Men has always been a show that just felt like The Sopranos, tonally and stylistically, a series where ambiguity and unease and narrative cul-de-sacs were not only present, but part of the modus operandi.

And that’s why it’s so infuriating to read clueless inventories of “loose ends we hope Mad Men wraps up” and “what needs to be resolved in the final season” (yes indeed, what needs to be resolved), as though this is a show that’s ever been about tidy conclusions and clean resolutions; that’s why complaints about recent episodes not going exactly where we think they “should” (from websites or fans or, worse, websites aggregating fans) are so headache-inducing — because Mad Men has never been about fan service. This fan, for one, doesn’t presume to know better than Weiner and company how this show should end, except that it shouldn’t end the way stupid people want it to: with someone falling out of a building, or Don parachuting out of an airplane with millions of dollars, or Bob Benson murdering him, or whatever.

The one thing that seems safe to assume is that Mad Men isn’t going to end in a nice clean package with a big, pretty bow on top, and that’s an assumption based on not only the show we’ve been watching for seven seasons now, but also Weiner’s own statements on the subject. “Resolution in itself is a mystery in this world,”

 

I think Mad Men, at large, is very much about wanting to maintain the status quo and resisting progress. It's a theme we see with Kennedy and Nixon, the firm being bought, the civil rights movement, Japanese businessmen, computers...in each case the change is resisted, eventually accepted as fait accompli and then people discover it's not as bad as they thought, and they work on establishing a new status quote, which they wont want to get rid of. Everyone is going kicking and screaming not just into the next era but the next year, month and day.

Oddly, the only change that's greeted with eagerness is the copy machine by the secretaries, even though that very copy machine spells their demise...and we get less and less secretaries each season.

So, anyways,  I look at the show's finale episodes in that context.  But maybe I'm wrong too.

"The Wars to Come" Game of Thrones 5-01

Oldest Previously:
Thought it was going to be Myrcella to Dorne, but we're going old school  Two administrations ago with Lancel and Robert's wine.

Credits
The Eyrie may or may not have been there last year.  All the old guys, plus Pentos, finally back.  Winterfell is on the mend.  No Dorne.  No Bravos, but I expect we'll see them next week.

Flashback
I am wondering how obvious it was to people that it was a Cersei flashback, if you hadn't read anything about it.  Maggie looks way better than expected

Confess your unpopular opinion
I do not care about R+L=J. 

I find D = E completely fascinating though because it could change the game.  I wonder if the recast of Daario had to do with casting someone who would fit an Iron Islander description better.

The real question is how does he get from Nashville to Mereen and back so quickly?

Chapter 1
Some shows are like reading a book.  Spend two episodes setting the stage and showing us what conflict will propel our characters through the season.  What obstacles they are facing.  What sort of changes they will make, or try to make and fail.  Here are some conflicts that look to play a major part:

• Deeper division between Cersei and Jaime
• Night's Watch election
• Jon Snow's over-sympathy to Wildlings is a divisive issue
• Stannis marching south to the North
• As they said, Stannis is like iron...unbendable.  And he can't bring himself to be lenient with Mance, even if it would help him immensely.  While Stannis is doing the work of the King in Westeros, he can't be so dogmatic.
• Dany can't control her dragons
• Dany's army/police force is facing an insurgency
• Surge!
• Tyrion to Dany?
• Margarey aiming high
• A younger, more beautiful queen
• Getting in with Tommen
• "Perhaps......Perhaps."  probably the best line of dialouge in the episode.  If this show does one thing well, it is economy of words and scene.  They convey so much information so succinctly.
• Sexposition
• Now, with dudes
• Birth mark looks like Dorne

Adaptation
The presence of Varys does several things.

• Much of Tyrion's action and conflict occurs inside of his head at this point in the series.  That doesn't play on television.  So he needs someone to speak to.  That person has to have an investment in his and the kingdom's future.  And he has to be an intellectual equal of Tyrion. 
• It allows Tyrion and Varys to continue their already established rapport.  Always good not not add more characters to a cast of hunrdeds if you can avoid it
• You also save time that would be needed to establish a new character
• They are in the East now.  Varys is Eastern.  They are going to seek an Eastern solution to the problems of Westeros.

Lords and Lordlings

• A POV shot worthy of Breaking Bad, Tyrion looking out from his box
• Uncle Kevan made an appearance
• Dorne dorne dorne dorne.  Let's get to it. 
• Alisair's alive?  Did not expect that.  But again, using an established character at this point is always better than creating a host of new ones. 
• I wonder if Robert got a proper funeral, like Tywin did, with all the hubbub going on when Ned Stark tried a coup.
• The image of tearing down a statue transcends any culture or medium
• Do a storyline where Robin gets bullied
• Small shout out to Oberyn when Oliver refers to his ex.