Every week for the third season of HBO's acclaimed fantasy series Game of Thrones, our roundtable of Ross Douthat (columnist, The New York Times), Spencer Kornhaber (entertainment editor, TheAtlantic.com), and Christopher Orr (senior editor and film critic, The Atlantic) will discuss the latest happenings in Westeros.
Orr: Ask and ye shall receive, Ross. Last week, you rued the absence of a certain character from the Theon storyline, and lo, this week he appears. As he has yet to identify himself, I won't do the honors. But I expect to have further thoughts on his belated arrival as that storyline progresses.
You also noted the way Game of Thrones showrunners David Benioff and D. B. Weiss had tweaked Martin's novels to present Margaery's charity work as, at least in part, a political tactic to exploit the Lannisters' incomprehension of "soft power." And here we have King Joffrey explicitly confirming this blindness. When his mother, Cersei, who senses something afoot, suggests that Margaery's "concern with the wellbeing of common people is interesting, " he replies curtly: "Not to me."
Indeed, this is an episode in which the female characters consistently seem a step ahead of their male counterparts. There's Margaery redirecting Joffrey's confused sexual ire (the angle at which he holds his crossbow when firing will be immediately recognizable to anyone who sat through one of those "subliminal sexual imagery in advertising" movies in school); Meera Reed operating as her brother Jojen's protector; Shae playfully taunting Tyrion; and, most literally, Brienne giving Jaime a lesson in steel at the episode's conclusion.
Perhaps more interesting still is that the earlier intimations of sisterhood (e.g., last episode's scene with Shae and Ros at the port of King's Landing) are becoming more explicit. Shae lectures Sansa that "Men only want one thing from a pretty girl." Catelyn confides in Talisa, her son's potentially costly new bride. And, of course, Lady Olenna, the Queen of Thorns (played beautifully by Dame Diana Rigg) gets Sansa to say what she really thinks of her rotten little ex-fiancé, Joffrey.
Natalie Dormer's Margaery is unfolding delightfully as the season progresses. I'd put her on the short list, with Bronn and Tywin, of the characters who've been most improved in the translation from page to screen.
I have a few more thoughts on these last two scenes, beginning with the sitdown between Olenna, Sansa, and Margaery. This is another early-season scene (we cited a few last week) that is lifted directly—and just about perfectly—from the novel, with little changed apart from the setting. I had worried that the casting of Rigg might be largely a sop to aging fanboys, such as myself, who loved her in The Avengers (the British spy show, not Whedon's cash cow) and On Her Majesty's Secret Service. But she's terrific here, and never more so than when Sansa reveals that her soon-to-be son-in-law is a "monster," and she replies with only mild disappointment: "Hmm. That's a pity." Natalie Dormer's Margaery, too, is unfolding delightfully as the season progresses. I'd put her on the short list, with Bronn and Tywin, of the characters who've been most improved in the translation from page to screen.
I was less thrilled with the scene between Catelyn and Talisa. I understand Benioff and Weiss's desire to make Robb's wife a more prominent character than she is in the book (in which she's a young lady named Jeyne Westerling who barely registers at all), but I fear they may have overshot the mark a bit when it comes to the screen time afforded Talisa. Also, in changing the match from one made for honor—in the book Robb marries Jeyne because he feels duty-bound to do so after sleeping with her in a moment of weakness—to one made for love, they give the relationship a somewhat jarringly modern feel. (She's even a career woman!)
What bothered me in this scene though was not Talisa, but Catelyn, who explains that she blames all the tragedies that have befallen her House on her inability to love her husband's bastard son, Jon Snow, as her own. This is a bit that's been added by Benioff and Weiss, and while it's nicely written, it rings false to my sense of Catelyn, who is pretty much defined by a kind of righteous obstinacy, especially where Jon is concerned. Perhaps more to the point, it seems a little odd to go looking for distant sins that could explain her family's misfortunes when her own recent actions offer explanation enough: Her arrest of Tyrion did, after all, start the war with the Lannisters and lead to her husband getting stabbed through the leg; and her unsanctioned release of Jaime has already sown dissent among Robb's men. Maybe those bear more blame for the family's predicament than her inability "to love a motherless boy?" Now it could be that Benioff and Weiss are planting a seed with this scene that will blossom into something interesting later. But if it's merely a one-off, it's one I think the show could have done without.
There are plenty of other good moments in the episode, including the introductions of Jojen Reed (who seems perfectly cast in Thomas Brodie-Sangster, the voice of Ferb and long-ago moppet of Love Actually) and his sister Meera, as well as that of Thoros of Myr (here evidently combined with the Tom Sevenstrings character of the novels). And Brienne and Jaime have two of their best scenes together to date: his enunciation of a decidedly liberal (and entirely self-serving) philosophy of sexual freedom—straight, gay, twincestual—and her rather persuasive drubbing of him on the bridge. Finally, I'll note that, for the eagle-eyed, there's a subtle clue to be found in one of the banners we see this episode.