After that season 6 finale of Game of Thrones, I have so many feelings and thoughts. For now, however, I would like to focus on the women.


This episode proved that season 7 of Game of Thrones is going to be the "season of women." In the first six seasons we have largely been experiencing the universe through male power dynamics and attempts to resolve age old male conflicts. However, season 6, episode 10 has set an unprecedented number of women (at least in Westeros) into positions of great political power. We have Daenerys and Yara Greyjoy teamed up and moving from Essos to Westeros, Darth Cersei sitting on the Iron Throne (*gulp*), Sansa Stark, although under Jon, certainly has her spoon stirring the Northern plot, wildcard Arya is seeking to finish her kill-list (only Cersei and the Mountain to go!), and Lady Olenna and Ellaria Sand plotting it up with Varys in Dorne.


Yara and Daenerys are going to be a force to be wreckoned with. Between Dany's dragons and Yara's extensive fleet of ships, the current Westerosi powerhouses had better brace themselves for a bitter battle if they have any chance at holding their positions.

Cersei has always been a bit dark, but this episode seems to be pushing a comparison between Cersei and the Mad King. He prepped the fire to "burn them all" and Cersei actually took action. Unfortunately for her, she may be sorry she used up the wildfire before the White-walkers arrive on the scene. If nothing else, it seems that Jamie has finally come around the the position he holds in the books of being 100% OVER Cersei's BS. Did you see that look he gave her as he watched her take the throne? Something tells me that Jamie may have to decide whether or not to take out a second "Mad" ruler. This would, after all, complete the Valonqar prophecy.


Although I specifically mentioned Arya as a wildcard above, I would argue that this is actually true of each of the Stark sisters. Ever since Sansa's time with Baelish, the audience has been exposed to a back and forth tendency in Sansa where we are not quite sure where her loyalties lie. In fact, I would argue that the hardships that she has faced have her becoming more and more like Cersei (which is obviously quite troubling). Arya, on the other hand is pretty clear about who she is and what she wants, but I am unsure how this is going to impact the overall power structure of Westeros. We saw at the end of this episode, however, that her ability to take faces is one that will allow her to get close to her enemies and perform her kills and taking out the last two people on her kill list will most certainly shake things up.


I am still a bit unsure how Lady Olenna and Ellaria Sand will play into things but the season finale suggests that Varys is going to put these powerful ladies to good use in some one or other of his own plots.

Clearly season seven is going to be largely about the ladies of Westeros. It will be interesting to see if there might be an argument to be made about the difference in rule and political problems in gendered terms. But for now...we will have to wait and see. Is it next year yet? I'm already singing Beyonce ("Who run the world? Girls!") and waiting impatiently...
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Let's talk about Arya...and the Waif. The internet has had a bit of time to express their excitement to see the Waif finally meet her end by Arya's hand.

We're all glad the Waif is dead, but what we REALLY want is for Arya and the Hound to get the band back together #GameofThrones

— michelle (@me_carter) June 15, 2016

Arya was badass.
Waif is dead.
Arya killed her.
Arya is going home.
I am a happy happy girl #GameofThrones

— Edward's Lamb (@AffatKiPudia) June 13, 2016

But people are also a bit disappointed that the Waif's death is not actually shown on-screen.

2 gripes with #GameofThrones this week. The blackfish dies offscreen, arya kills the waif and they don't show the battle. #Letdown

— Lou-E (@Lou_E_) June 14, 2016

seriously those minutes of Tyrion telling drunk jokes could've been a scene how Arya kills that Waif. 😒#GameofThrones #ThronesYall

— Maria Patricia (@pattieserrie) June 13, 2016

Considering the violent precedent that the Game of Thrones show runners have set for themselves, I find the fact that Arya's epic chase scene with the Waif was not followed up by a more gruesome/satisfying depiction of the Waif's final moments. However, this seemingly strange move on the part of the show-runners has me convinced that there is more going on than the viewers are being led to believe. Perhaps, just as Arya left the Waif to fight her in the dark, so too are the show-runners leaving viewers to search for answers while they have left us in the dark about the actual fight that takes place in that room.


The Blogosphere has already pointed out the strange inconsistency of Arya's survival after the Waif stabs her. Just check out this article that outlines just how many times similar actions have led to drastically different ends. So why does Arya have the distinctly lucky pleasure of being an obvious exception to what is the usual Westrosi rule of death? I have a few thoughts.

First of all, I am unconvinced that Arya is...well...Arya. Sure, we see the Waif's face adorning the wall in the House of Black and White, but can we be certain that the blood we see is not actually that of Arya?


In the time that Arya trained with the Waif, she was exposed to some bizarre - if not unlikely - psychological tests that seem a bit counter intuitive to the pursuit of attempting to turn a "someone" into "no-one." Seriously, what was the purpose of having Arya revisit and divulge her life story to the Waif? Although an unlikely method of turning Arya into a "no-one," it would have been a good way for the Waif to put herself into the position of having enough intimate knowledge of Arya's life that she would be able to wear Arya's face and take her place.

It seems likely that in a world where practically everyone is striving to work their way up the ladder in pursuit of power positions, it stands to reason that the Faceless men might also want a piece of the power pie (so to speak). Being in possession of a face that belongs to a person of stature puts this group in a better position to achieve such an end. Because Arya becomes uncooperative, the Waif exchanging Arya's face for her own may be a solution to put the Faceless Men back on track to achieving whatever ends they are pursuing through possessing Arya's face. If this theory has any weight, I am certainly curious to know what the Faceless Men are actually up to and how they will use Arya's face.

I realize this may be a bit of a far fetched theory, but very little is ever a coincidence in the GOT world. Some things about this story-line and the way it was presented just do not add up or fall in line with the usual narrational progression of this universe. Frankly, I refuse to believe the show-runners would be so boring about the much anticipated death of the Waif unless there is a much bigger twist to come!
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First I must apologize to my loyal readers for the tardiness of this post. I spent the latter portion of the long/holiday weekend in a place that's technological amenities are not so far removed from the medieval-esque innovations of Westeros...My mother's house. Seriously....no internet...no cable. I have no idea how she entertains herself when I am not there to visit. But I have finally found the time to watch. Here are my thoughts:

This week's episode has proven to keep in line with the strong story-telling of the past several episodes of season 6. Much like me this past weekend, Samwell returned home. Fortunately for me, my mother is much more proud and accepting of me than Samwell's father is of him. This segment really made me think of the way in which this show both sets up expectations for and simultaneously values legacy.
Clearly Randyll Tarly's vast disapproval of Sam exists as a result of Sam's inability to live up to the legacy of his father's military prowess. Randyll takes every chance he can to shame Sam as insufficient both physically and in regards to his talents (or lack thereof of those skill he deems appropriately masculine). Sam's father is not a fan of the fact that his son prefers books and learning to the physical trials of hunting and war.


Melessa Tarly clearly disapproves of her husband's dismissal of their son. However, she very clearly still propagates the notion that father's ultimately want their sons to grow up in their image. As she takes her new grandson into her arms, she states that she believes her grandson will someday be a scholar just like his father. Her comment here suggests that there is a commonly felt notion among men that sons should grow to exhibit whatever iteration of masculinity that is held by the father.

This rift in acceptable masculine display as it plays out between Samwell and Randyll is similar to other iterations on this theme that have played out amongst other father/son pairings in the world of Game of Thrones. For example, Tyrion, although he is much like Tywin in political prowess, is often denounced by his father as a result of his dwarfism. Tyrion's inability to possess the ideal masculine body is seen as a failure to live in his father's image. Later in this episode we see a similar interaction transpire between Tommen and Jaime. Jaime is disappointed that his son is allowing his power to be taken by the Sparrow. Tommen's meek nature is a disappointment to Jaime who is more assertive. These sons being unable or unwilling to live according to their father's legacies causes the perception  that both father and son have failed.


As much as I have spoken of this idea of legacy in terms of fathers and sons and those sons who tend to fall short, I want to touch upon this theme in a different manner. There are certainly pairs that demonstrate the value of aspiring to be like a parent as well. I would really like to talk about this as it relates to Arya. Arya is arguably quite masculine and although she is not a son of Ned Stark, this episode seems to suggest that she aspires to be more like Ned. There is a moment in this episode when she walks back stage to add poison to Lady Crane's drink and she walks past the prop head of Ned Stark. Even before Arya returns to stop the poisoning that she set in motion. I  knew at this moment that she would not allow the murder to take place and would, in fact start the "return" of Arya Stark (as opposed to pursuing being No One). Arya clearly found a degree of honor in her father's way of living. She clearly is seeing a fault in the Faceless Men's killing paradigm - one that she cannot condone as a relatively honorable person. Although her choice my come to her detriment, as the Waif is now under orders to kill her, she will at least go out knowing that she did the honorable thing: the thing her father would have done.

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I am particularly fond of the Game of Thrones episodes in which we are treated to parody pieces of theater that depict recent Westrosi history. This episode is particularly interesting in that it serves as a twisted source of information for Arya Stark.




This street theater performance is clearly a narrative device to shock Arya's system, to remind her of her old values, the person she once was, and from where she comes. However, Arya has been decidedly absent from being "in the know" regarding political activities and scandals for the past several years. Past the experience of re-living her father's decapitation via parodic performance, the following information she receives from the play is essentially new to her (e.g. Sansa and Tyrion).


Although Arya seems to be incredibly understanding of the "fun" of the parody at the beginning of the scene, the falsehoods begin to affect her as they clearly cause dissonance when portraying her father as less of an honorable man and more of an idiot. Although historical plays are often both exaggerations of events and means of flattery towards those in power - in this case, the Lannisters, we as audience members of the show must understand how this skewed portrayal of events might affect Arya. Arya is often beholden to her reactions to events and this scene seems to suggest that she has not completely allowed herself to see the scenario with complexity. She clearly understands the falsehood of the beginning of the play but has no frame of reference for the rest. As a result she may take more truth from the scene than she should.

So the question becomes, how will this all play out? If Arya, as I suggest above, views the play as containing more truth than is warranted, there is a possibility that she now has a considerable bone to pick with Tyrion. Arya is obviously not predisposed toward erring on the side of trust - nor does history indicate that she should - when it comes to the Lannisters. However, in a bit of dramatic irony, we the audience know just how kind Tyrion was to Sansa, a truth that Arya will be unlikely to seek out on her own. Arya may end up with an unwarranted sense of anger towards Tyrion. We also know that Arya's anger tends to result in death (or at least the promise of it). Will Tyrion be a name that Arya secretly adds to her list?


I have been under the impression for some time that Arya's time in Bravvos will come to an end at some point. Either she will be released by Jaqen H'gar or she will go MIA upon completing her training so that she can pursue her own interests. If this comes to be, Tyrion is not really all that far from her as they are both currently in Essos. Geography suggests a showdown between these characters is definitely possible.

Here's to hoping that Arya's seemingly negative reaction to the play will not result in the death of the only likable Lannister and that we as viewers learn a lesson not to take historical plays (or other pieces of historical extertainment) at face value. Even Shakespeare was known to elaborate a bit when it came to portraying certain historical figures in ways that would appease the powers that be. Clearly truths and lies can comfortably co-exist and if we do not do our due diligence to seek truth from several angles, someone may suffer the consequences.
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There is something powerful about a new beginning. I am sure that many have wished for one at some point or another, I know I have. This week's episode of Game of Thrones has very clearly afforded two major characters the opportunity of a new start. The literal and metaphorical death and subsequent rebirth of Jon Snow and Arya Stark respectively are probably two of the most interesting moments from this season so far. I cannot help but ask, "how will this piece of the narrative affect the future story?"

Through season 4, episodes 5-8, I could not help but pay particular attention to Arya and Sansa and the very different ways in which they are learning to "play the game." In these episodes we continue to see the Stark girls' tales unfold as they are molded/mentored by their male travel companions, each of whom have vastly different techniques to maneuver through the twisted political landscape that exists within Westeros. What I find most interesting about this is that the methods each of the Stark women are being taught could be construed as either primarily masculine or primarily feminine and both Arya and Sansa are with a male figure that is able to teach them the method that aligns most fully with their respective gendered leanings. As a result of the time that Arya spends with the Hound and Sansa spends with Littlefinger, each will pick up valuable tools that will allow them to play to their own gender-oriented strengths and, potentially, survive the game of thrones.


Successful masculinity in Westeros is largely understood through the expression of physical prowess and the successful bettering of another in battle. Arya has often been portrayed as more masculine in the show (regardless of her biological sex). She is physical, rough, short-tempered, and interested in battle. Her pairing with The Hound over the course of the last several episodes is really introducing her to what it means to survive as a warrior in the hostile climate of Westeros. The Hound is teaching Arya to use her battle-wits to actively take charge of her situation. Methods of survival, as taught by Hound:


In a nutshell, Sandor Clegane is teaching Arya not only to use her sword for revenge, but also to choose her battles and movements wisely so that she might use her instincts to survive the tumultuous social climate that infests her world.

Of course, we saw The Hound with Sansa in earlier seasons, but he was merely a figure that repeatedly saved her. The Hounds strengths (battle instincts and physical prowess) were not compatible with Sansa's talents. However, in Sansa's time with Littlefinger, she begins to learn how to use her own abilities to her advantage.


Now before I get too into the relationship between Sansa and Littlefinger, I want to clarify the gendered nature of their relationship. Whereas Arya and The Hound are active and direct in their exercising of power and manipulating their circumstances (traits associated with masculinity), Littlefinger (and later Sansa) are not as assertive and thus their passive aggression is more feminine.

Sansa and Littlefinger use social subterfuge, misdirection, and dishonesty to achieve their ends, essentially leaving others to perform the more active (i.e. dirty) work that is involved in their scheming. For example, Baelish is involved in the plot to poison Joffrey but does not actually drop the poison himself. The Hound himself even tells Arya that poison is a weapon of women in episode 4.8.

Littlefinger also lies to Lysa Arryn regarding his feelings for her so that she will poison her own husband and frame the Lannisters for the deed.


Although I would be remiss to suggest that Littlefinger intentionally leads Sansa to understand his methods and passes on his methodology to her, Sansa's time around him seems to resonate with her and finally allows her to fully understand the way that she will will be able to survive the political game in which she has found herself enmeshed. Although we have not seen much subterfuge from her yet, when Sansa reveals her true identity to the council at the Vale but still protects Baelish, it seems clear that she is going against Littlefinger's will. He would rather her identity remain secret but she understands that this gives him leverage (not her), so she seems to flip the script on Baelish and use storytelling and manipulation to her own advantage. The end of this episode clearly suggests that Sansa finally understands her strength and is finally and officially "in the game."

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So we are now at the end of season three and the much anticipated Red Wedding has assaulted the eyes and hearts of those that are participating in this blogging project. I think that Maisie Williams gave the best breakdown of the situation to date:



I wanted to touch upon the use of sound and images in this particular scene.

As the scene opens, the audience is invited to participate in what seems to be a normal wedding festival. The music is joyful. And why should it not be? We learned during the actual wedding that Walder Frey had been hiding away the attractive, Roslin and Edmure Tully gets to enjoy the fruit of his obedience to Robb.


As Edmure and Roslin are carried away for their bedding ceremony, the camera settles on Robb and Talisa who have a conversation concerning their unborn child. Talisa suggests, if it is a boy, they will name it Eddard. Robb is clearly pleased with this choice and the two embrace.The camera moves out wide, blurring Robb and Talisa, and focusing on Catelyn looking on in the background. While Talisa and Robb embrace, Catelyn is undeniably alone; A stark reminder to the audience of the fact that this child's namesake was murdered by the Lannisters.


This moment is interrupted by a guard making his way to the doors. The audience's attention moves with Catelyn's perspective and focuses on the door being closed and the large ominous thud of the act. Immediateely following the door's bellowing latch, the music begins again. However, instead of the joyous tunes that were being played before, the tone changes to something distinctively ominous. Caitlin picks up on this song choice, almost immediately by the look on her face. The song that is being played is one that is well known in Westeros, it is called "The Rain of Castermere."  Here is a version with the lyrics. It is strangely/hauntingly beautiful. I will admit I have been listening to it on repeat as I have been writing this post.


This song is understood in Westeros to be associated with the Lannisters (Tywin in particular). Although those viewers who had not read the book first would have largely had this fact lost upon them. The song has not been very present in the series. However, the above version was present in at least one other episode in the series. Bronn and some of the Lannister men sing it just before the Blackwater battle and the song is also played over the credits of that same episode (season 2, episode 9). Appropriately, the credits (and thus this song) role immediately after Tywin Lannister is revealed at the end of the Blackwater battle to have "saved the day."


Additionally, Cersei uses an explanation of this song to intimidate Margaery Tyrell in the episode before.


The significance of the song playing at the Frey/Tully wedding was, likely, lost upon the viewer unless they were paying particularly close attention or had previously read the books. That being said, I feel the show did adapt the red wedding scene with justice, particularly in reference to this song changing the tone of the scene.

I also wanted to provide a few comments on the choice to end the episode with silence over the ending credits. I think this was a particularly bold choice but one that was extremely effective. In another somewhat Hitchcockian move, there is a loss of two major characters, characters that, through three full seasons, the audience has been able to become fond. The silence, in some ways reminded me of Ned's death, where the ruckus and noise was drowned out to represent the emotional trauma of Arya. But in this instance, we, the audience are the traumatized in need of a moment of silence to process the loss we have suffered.


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