I have been feeling incredibly strange about not posting to this blog for the past week or two. Game of Thrones, season six has ended but I have been programmed over the last several months to create a weekly blog with smart insight or general observations about the show. As a result, over the last several days I have been attempting to envision how I might still utilize this platform as I impatiently wait for the seventh season of the show to begin, because not blogging every week has been...weird.


I have decided that I want to return to the books and do something of a "Book Club" post every week or two until the show returns. My life is a bit crazy and classes will begin again before I know it, but I would like to commit to reading a few chapters per week (or bi-weekly) and write about them. Perhaps I will write a bit about adaptation, changes between the book and show, perhaps a bit about the convoluted albeit genius political plot that Martin weaves into the books. Who knows! There are so many things that can be said and I think that this will be a great way to continue the conversation about the Game of Thrones universe.


Because I want this to be an experience in which my readers can follow along, whether it be their first time or 10th time through the series, I will read a set number of chapters each week (sometimes bi-weekly but I will warn readers when this will happen). I will start with book one (A Game of Thrones) and continue through the books in sequence until the HBO series returns. Although I will likely only make it through a book or two before this happens, I am hoping that this will allow me to continue this tradition after season 7 comes to a close.

So here is the plan for next week: I will read the first four chapters of A Game of Thrones and post it next week. I am also hoping to end each post with a couple of discussion questions which I am hoping my readers will engage with in the comments section of the blog.

So let's do this! A Game of Book-clubs is officially a GO!


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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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This week I have been feeling a bit empathetic to Arya. Girlfriend, I have been feeling on the verge of death this week too. Okay, I was not stabbed but some kind of terrible bug set up camp these past few days. I finally starting to feel functional again. Hopefully Arya will be feeling herself again next Sunday as well.

Because my body is still disallowing my brain from performing with any long term coherence (thank sickness!), I have decided to step away from my usual method of finding a theme on which to expand and, instead, I will just give a few general thoughts on the latest episode. Therefore this blog is brought to you in three parts.


Part 1: Clegane-bowl(?!?)
As anyone who took the time to watch knows, this episode was heavy on The Hound. Book fans probably are aware that there is much speculation within the fan community that The Hound is also still alive in the book series. The fact that the show never actually showed The Hound die on-screen has caused many fans to believe that he would, in fact, be back. All of this makes me wonder wether the show is buttering up the audience for the long-speculated Clegane-Bowl. The fact that the TV show had The Hound serving - or at least living among - followers of The Seven makes me wonder if the show will use this association to bring The Hound to King's Landing to continue to serve there. If this happens it stands to reason that Cersei will probably request a trial by combat that will pit her champion (the resurrected Mountain) up against the champion of the faith militant (likely, The Hound).


Part 2: Lady Stone-Heart
The Brotherhood Without Banners was also a return presence in this episode. Although they appear to be the force behind the pillaging and massacre of the convent in which The Hound found refuge, I must ponder the purpose of their reemergence. The return of the brotherhood in a season that has been so keen on character returns makes me wonder if the show-runners won't use this opportunity to bring back Lady Stoneheart (a.k.a. Catelyn Stark). My fingers are definitely crossed!


Part 3: Margaery Tyrell
I think that one of the biggest twists this week came in the form of a small hand drawn rose delivered to Grandma Tyrell from her granddaughter Margaery. Although I have not completely figured out what Margaery's end game is, I was greatly suspicious that she was, in fact, not as devout as she was making herself out to be. I am curious how this is going to play out as it pertains to Tommen. Is he aware of Margaery's disingenuousness? The way in which he is interacting with the Faith suggests to me that he is not necessarily aware at all. I am curious if this whole scenario will play into Tommen's death which I feel will probably happen at some point in the next episodes (or early next season).

Hopefully my faculties will be restored before the next episode so that I might be able to offer something of more substance next week.
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Holy Crap!

Can we just take a few moments to appreciate the gravity of all of the amazing moments from last night's Game of Thrones?

** Sits in silence for 10 seconds and lets it all sink-in **

Again in this episode the audience is served a treat of mirroring story-lines between Jon Snow and Daenerys. Each of them experiences a reunion with notable figures in their lives. Dany is met by both Jorah and Daario at Vaes Dothrak (and after literally turning up the heat, she has something of a reunion with her Dothraki "people"). To the North, Brienne safely delivers Sansa to Castle Black just before Jon plans to depart (way to go on the timing, Brienne!). The question I have... What will come of this? What do these reunions mean to these characters?


I think that for both Jon and Dany, these reunions are coupled with a sincere reconstituting of the dynamic between themselves and those to whom they have been reunited. These newly reformed relationships will have vast implications on the future movements of these characters.

Jon and Sansa share a heartwarming conversation in which they collectively recognize their own shortcomings in their previous "life" as siblings (i.e. Sansa was a bitch...Jon was majorly jealous). This new understanding and "forgiveness" of previous familial interactions allows these characters a renewed sense of familial bond at a time that each of them is in sore need of one another's company. In other words, Jon needs a new sense of purpose and Sansa needs to feel both protected and connected. Voila! Each is perfectly suited to provide for the other's needs. In fact, for Jon, this newly found understanding between the two might be what ultimately helps him to decide how to respond to the "pink letter" that he receives from Ramsay Bolton. If Melisandre's visions are any indication, there will be a epic battle of the bastards by season's end.


Dany, after burning down the Dothraki house experiences a strange rebirth as a Khaleesi. The Dothraki people seem all too receptive to the idea of the change in leadership. With just a walk through fire, Dany has turned a notoriously patriarchal people in an instant, converting them to a matriarchy over which she can preside. She did, after all, better their Khal, so it seems to follow that the Dothraki people would naturally uphold their tradition of moving on to living under the new victor's rule.


Additionally, the audience can see that Daario, for all his usual cockiness, is finally realizing/witnessing the true force of Daenerys Targaryen. Sure, he has witnessed her Dragons and even seen her lose firm control of them, but he has never experienced her ability to walk through fire without enduring the usual burn. Perhaps he finally understands the true extent of Jorah's belief in and love for Dany. I think that Daario's awe is also an indication of just how much of a force Dany truly has become. Bring it on Westeros! Khaleesi is coming for you...all of you and your little throne too!


Clearly each of these characters (Dany and Jon) have experienced "game-changers" during this episode. All I want to know now is when these two will finally meet and whether it will be an epic family reunion by way of congenial welcoming or bloody battle.
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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?"

So the first episode of season six has come and I feel like I have more questions than answers... Jon Snow has yet to come back to life (seriously...I am still convinced this is going to happen), Tyrion looks as though he is failing miserably in Meereen (I still believe in you Tyrion!), Sansa has fianlly accepted Brienne (FINALLY!), and Daenerys seems to be in a lot less danger than the season five close lead viewers to believe (of course if you read the books you probably were not all that worried...).

But even through all of the turns from last night's episode of HBO's Game of Thrones, all I really want to talk about is Melisandre's old, wrinkled, and naked body.

Of course Game of Thrones is no stranger to nakedness, not an episode goes by that viewers are not meant to endure several instances of nakedness. Of course the typical display is young, toned and, what most would consider, classically beautiful. The media is largely guilty of acting as a visual gate-keeper. Only those who meet specific aesthetic criteria are usually deemed worthy of being seen on screens both large and small. These exclusionary practices are particularly brutal for women.


I would be remiss not to give credit where credit is due, however. Efforts have been made in recent years to center women with varying body-types and allow them starring, rather than co-starring, roles, but I would argue that these women are still relatively young, have some degree of classic beauty in their facial features, and are typically white (e.g. Melissa McCarthy, Rebel Wilson). Even with a degree of flexibility in the body shapes present there is little movement to be inclusive of "women of a certain age" unless they are already well established celebrities. Even then, several of these well established female celebrities are refused roles by casting agents for being "too old" to play opposite males of similar, if not older ages. For example, just last year, Maggie Gyllenhaal cited an instance when she was turned away as a potential love interest for a man nearly 20 years her senior. Gyllenhaal's claim triggered an influx of Hollywood's women to share similar stories.


In addition, older bodies are very rarely seen naked. For a show that has notoriously been criticized for its generous use of nudity, even causing critic and academic Martin McNutt to coin the term "sexposition" to describe its over-use in scenes of plot exposition, the ending scene of "The Red Woman" episode (S1.E6), in which Melisandre bares both her true age and the body that corresponds, certainly feels like something different from the nudity that has been seen thus far. And let's be honest, in the wake of Melisandre's big season six reveal, the twitterverse was BRUTAL. Here are just a few tweets:

And I dunno why, but #Melisandre looks a bit like #Kreacher.

— Navpreet Singh (@navpreet_tweets) April 25, 2016

Rules for dating Melisandre. At the risk of sounding superficial, the necklace stays on!

— Linden Ashby (@lindenashby) April 25, 2016

#Melisandre without her necklace
"The night is dark and full of terrors"#GameofThrones pic.twitter.com/Nrq1HFuwJq

— Jorge Barragan (@designgeorge24) April 25, 2016

I'm sure a lot of ladies will want this as birthday gift #GameofThrones #Melisandre pic.twitter.com/JNo1lwDm0D

— Andrés Díaz (@newandrewayne) April 25, 2016

I will not argue that this turn in Melisandre's physicality will not have a more narritorial purpose in the future of the show (how would I know now that they are off book), but there is arguably something to be said about this bodily display from a cultural standpoint (especially considering some of the more cruel reactions). What I think is important about this scene is that it speaks loud and clear to a culture that is obsessed with youthful beauty and the, often, unobtainable bodies that correspond with these cultural ideals. People age and bodies will inevitably show signs of this process. Melisandre's aged body in all it's nude glory is clearly a stark reminder to viewers that physical beauty is fleeting and even those who seem to possess it may be flaunting bodily falsehoods.


I am a firm believer that it is only through naturalizing diverse bodies (age, size, race, ability etc.) through media outlets that we can begin to disillusion ourselves from some of the more culturally prominent and destructive notions of beauty and worth to which we so often find ourselves beholden. Regardless of the direction that Melisandre's character takes in future episodes, I find myself grateful for a reprieve from the usual onslaught of the homogeneous female body type that Game of Thrones typically has on fully nude display. There is nothing unnatural about aging or the body showing signs of wear and only through showing this in the media can we disabuse ourselves of the notion that the aging body (especially the aging female body) is something to be feared and thwarted at any cost.
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This week marks the end of the re-watch project and the beginning of an exploration into the unknown. The last four episodes of this season have placed several characters in interesting positions that could spin the whole dynamic of Westeros in new directions. For this particular blog, I would like to take a look at a few of the more popular (/important?) characters and where they are left at the end of season 5 and try my hand at a Maggy the Frog impression and attempt to make a few predictions about season 6...which premieres in just a couple of hours.


Tyrion Lannister

Tyrion Lannister is placed in the slightly uncomfortable position of ruling in Daenery's place until Daario Naharis and Ser Jorah Mormont are able to track where Drogon has landed with their beloved Khaleesi. Although the situation in Meereen is chaotic at best, I am convinced that this is the best place and situation in which Tyrion can find himself. He, arguably, possesses one of the best political minds in the seven kingdoms and will undoubtably use this political prowess to make reasonable choices concerning the people in Meereen. Dany often allowed her emotions and strong convictions to sway her away from the best political move (which could have fostered support in gradual change) and toward moves to immediately rectify any problems (often without the foresight of the consequences that these swift actions might produce). Tyrion will likely inspire the citizens of Meereen (both high and low born) to become confident in Dany's ability to rule.


Bran Stark

We know from the previews of the season that Bran will be back in the mix this season. Bran has been underground with the Three-Eyed Raven and the Children of the Forrest since the end of season four. I think that we can assume that Bran has been working to perfect his supernatural abilities. We already know that he was some sort of supernatural exception to the Skinchanger rule since he simultaneously is a greenseer and has the ability to "wear the skin" of other humans. With his advanced abilities, I think that Bran will begin using his abilities to predict the need to control (and subsequently ACTUALLY control) Dany's dragons. After all, the Three-Eyed Raven told him "You'll never walk again, but you will fly."


Jon Snow (Azor Ahai???)

Of course, things are not looking too promising for Dear Jon, but I have said before that I truly believe the R+L=J theory. I predict that Jon will live (or at least be resurrected). I am not 100% sure how this will happen but here are a few thoughts:

1. Melisandre is at the wall and has had her eye on Jon for some time. Although we have not yet seen Melisandre bring anyone back from the dead, it is within the abilities of a priestesses of the lord of light to do so. We did see Thoros (the red priest with the Brotherhood without Banners) bring back one of his brethren in season three. This is one narrative possibility...
2. If Jon actually is part Targaryen, it is possible that he will be "burned" and come out of the fire "re-born" much like Daenerys when she hatched her dragons and escaped the flames as "the mother of dragons." Let us not forget what Aemon Targaryan told Jon Snow before his death: "Kill the boy and let the man live." Of course, we are led to believe that this is largely a symbolic message, but I feel that it might be more literal when considering the reemergence of the supernatural throughout the seven kingdoms.
3. Although the television show has been less explicit, the book makes it pretty clear that Jon Snow is able to warg into his direwolf. In fact, Jon Snow's last word in the book (after being stabbed by his fellow watchmen, is "Ghost." Perhaps Jon will have warged prior to losing human "life" and live on in animal form. I would imagine that Bran would still be able to communicate with Jon somehow through their mutual abilities. 

All I have left to say is that I am REALLY excited to see what happens tonight when HBO goes off book. I have my GoT shoes on and I am ready to go...#notjoking....#IreallyhaveGoTshoes...

New #gameofthrones #book page #shoes are now #onsale in #thenerdboutique on #etsy! #hbo #songoficeandfire #georgerrmartin #literary #litlover #literature #booksbooksbooks #bookstagram #bookcraft #bookworm #booklover #targaryen #stark #tyrionlannister #aryastark #GoT #asoiaf #jonsnow #gameofthronesseason6 #gotseason6

A photo posted by Marilyn Lorch (@thenerdboutique) on Apr 24, 2016 at 11:31am PDT

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Although I am unsure whether I have ever mentioned this in any of the House Lorch blog posts that came before this one, a couple of my larger areas of academic interests are children's and young adult literature & media and women's & girls' studies. As a result, I have found that I tend to gravitate toward explorations of the way in which literature and media construct and depict interpersonal relationships between women (or girls...or women AND girls).


More often than not, women's relationships, especially those with rivals (or frenemies), are centered on social, rather than physical, aggression. When girls are young, they are often socialized in a way that discourages physical aggression and, as a result, girls often seek out other avenues to express frustration (Lipkin 92). Instead, girls are more likely to partake in relational aggression (i.e. "being emotionally hurtful through rejection, sending rumors around, gossiping strategically, and withholding or denying friendship in order to reinforce or foster a social pecking order") which allows girls to be aggressive in ways that are more covert (97). This is not the same for boys, who are less apt to be punished for displaying aggressive behavior. This kind of relational aggression is something I have been tracking between Cersei and Margaery.


Interestingly Elline Lipkin points out that these relationships often come to a head as a result of disputes over relationships with men. This is particularly true when a romantic relationship exists at the center of the relationship between one of the women and the male in question. Of course, the struggle between mother-in-law and daughter-in-law is nothing really new. I am interested, however, in the way in which Margaery and Cersei go about making one another miserable. As much as some feel that this series depicts strong female figures, the use of relational aggression between these two characters is fairly stereo-typical and demonstrates women sticking to their usual cattiness toward one another.


To make things even worse, in their relational aggression towards one another, these characters tear one another apart using female oriented insecurities related to age and beauty. Naomi Wolf once wrote about the way in which beauty culture tends to divide women of different generations even if it might be in their best interest to come together to move women forward (Wolf 283).  She writes: "the links between generations of women must always be newly broken...older women fear young ones, young women fear old..." (Wolf 14). I do not mean to argue that the beauty myth is a sole driver of the divide between Margery and Cersei but the tension related to the beauty myth is certainly central to their relational assaults. For example, Margaery's "sister or mother," or later "queen mother or queen regent" question that she has posed to Cersei are clearly a jab at their age difference. In Cersei's flashback earlier this season we also know that Cersei fears a younger beauty that will take her place as queen.


Going back to the relational agression, we have seen in these last episodes (S5.E3-S5.E6) that Cersei is spreading rumors and exercising power to remove Margaery from her support system (sending her father to Braavos, having Ser Loras arrested, etc.). Clearly, Cersei has the kind of power that comes with age and Margaery the power that stems from beauty. It will be interesting to continue watching the way in which these two characters navigate their relationship (both with one another and Tommen) in the coming episodes. In the mean time, I will continue to think of these two as "the mean girls of Westeros."



Works Cited:
Lipkin, Elline. Girls' Studies. Berkeley, CA: Seal Press, 2009. Print.
Wolf, Naomi. The Beauty Myth: How Images of Beauty are Used Against Women. New York: Anchor Books, 1991. Print
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I suppose everyone should have realized from the moment that Cersei told Sansa never to love because it makes you weak, that this show would be less than kind to anyone who loves. I mean, I am not a Cersei fan per se, but Lena Headey, as Queen Mother, has a knack for dropping some seriously uncomfortable truth bombs. I think that Amy Winehouse expressed it best, for in the Game of Thrones universe, "love is a losing game."

Here is a cover of the song by Sam Smith (because as much as I love Amy Winehouse, I am a sucker for piano covers...)


Although the episodes that we watched this week (S4.E9-S5-E2) are not the first to deliver devastating character losses, I felt that these episodes and their corresponding losses were particularly horrible to have to watch. There are really no love stories that have ended well thus far, and I have a feeling that this trend of loss will continue in the realm of Game of Thrones romance plots even beyond the source material provided by Martin.


Instead of this post being theory-heavy or attempting to thread together some interestingly convoluted argument, I want to spend a bit of time reflecting on the romantic tragedies that scarred me, yet again, while watching the show this week.


First we have the tragic pairing of Shae and Tyrion. Although Tyrion let her go in the last season (Season 4) to protect her, Shae's strong will and stubbornness felt betrayed by his actions. Clearly, Tyrion was acting out of love in an effort to protect her from his father, but Shae's anger lead her to seek revenge in the form of testifying lying at Tyrion's murder trial and making him sound guilty for Joffrey's demise. Of course this all came to a head in the last episode of season 4 when Tyrion discovers that Shae has been bedding his father. Although I felt zero remorse for Shae as Tyrion strangled her, I could not help but feel devastated for Tyrion. Tyron is broken and Dinklage does such a great job of pulling of this moment in a  raw and believable manner.


In a similarly tragic...almost Romeo and Juliet-like, love story, Jon and Ygritte are finally reunited amidst the battle in which their clashing clans are currently enmeshed.  Ygritte is finally ready to put Jon to death (her single preoccupation in the episodes that came before), but is stopped short by little Olly. The way in which this is shot is particularly beautiful. The slow motion is a bit unccharacteristic for Game of Thrones, but nonetheless, the effect really pulls the viewer into the emotionally tragedy that has befallen Jon Snow.

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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