The final season of “Game of Thrones” arrives April 14. Before then, we’re getting prepared by rewatching the first seven seasons. Sign up to get these straight to your inbox.
So now that you’ve rewatched Season 4, do you need a drink? Here, let us be your cupbearer. Read on for a deeper dive into the season. If you’re just joining us, you can catch up with recaps of past seasons with our ultimate watching guide, which also includes suggested episodes to rewatch in later seasons.
House Lannister = House Loser. Thanks to all the family squabbling, the Lannisters overlooked real threats and ended up sacrificing each other, to the detriment of the Seven Kingdoms. House Arryn thought they were safe and the Eyrie impregnable — but they let Littlefinger waltz in and take the Vale for himself. House Martell lost their chance for revenge (and we lost the best part of the Dorne story) because Oberyn didn’t know when to just walk away.
So, the winner? House Baratheon. Stannis the Mannis is the only king looking to protect the realm, not just his own interests. Remember the realm, guys?A Game of Law and Order
Tyrion isn’t the only poor soul in Westeros holding out for a hero — a champion to stand up and fight for him. What is Hodor, if not Bran’s champion? (Although not always voluntarily.) Yara hopes to become her brother Theon’s champion in order to save him from Ramsay (too bad that Theon has become Reek and can’t accept her rescue). And while both the Hound and Brienne deny any knight-like affiliations, they are unmistakably chivalrous — watching over a little orphan girl (even if the little girl in question hardly needs their help).
Such heroism among humbler figures in this story points to the fact that those actually charged with protecting their people are generally selfish or feckless or both.
When Tywin quizzes Tommen (“What makes a good king?”), they discuss several necessary qualities, but ultimately settle on wisdom, the crucial virtue for anyone seeking to rule over a kingdom filled with groups pursuing hotly contested interests. However, Tywin doesn’t address the social contract between a monarch and his vassals — that in return for fealty, kings and queens are accountable to their subjects as protectors of the realm. Tywin is aware of that responsibility, but he is more interested in using authority to advance his personal goals.
In Meereen, Dany is driven less by calculation than extremist ideas about justice. As she learns in the aftermaths of Astapor and Yunkai, it’s not enough to liberate slaves if their former masters retain institutional power. So, enraged by the ghastly crucified slave children she sees on the road, she executes all the masters. “They can live in my new world, or they can die in their old one,” she says.
But what exactly is Dany’s new world? She has replaced an oligarchy with an absolute monarchy, one with a judicial system defined by a lack of due process and disproportionate sentencing, as Hizdahr zo Loraq points out. His father, a critic of the child slave crucifixions, was himself crucified. “Is it justice to answer one crime with another?” Hizdahr asks, in regards to executing the masters without questioning them first. Dany’s response? That what she did was no crime. She’s above the law because she is the law. That comes awfully close to Joffrey’s assessment that the king can do what he likes.
It’s not like there are better models elsewhere. If you’re a lord or a lady accused of a crime in Westeros, the only way you can hire someone to defend you is in a trial by combat; there are no lawyers in the courtrooms of Westeros. Nor are there rules regarding conflicts of interest among the three judges drawn from among your peers (more lords). In Tyrion’s trial, Tommen recuses himself, presumably because he’s related to the accused, the accuser and the victim, but Tywin stays on.
Outside of the king’s court, justice is even more arbitrary. The dissidents burned by Stannis and Melisandre presumably received no trial before their execution. Littlefinger is suspected of murder and faces a trial by two lords and one lady of the Vale, and half of their objections are that he’s an outsider (Sansa’s testimony clears him). Jon Snow is also tried for a few crimes — breaking his vows, murdering Qhorin Halfhand. But the Night’s Watch allows him to defend himself, and one judge on the bench decides he’s telling the truth (good old Maester Aemon). That’s enough to stay an execution, to the dismay of Alliser Thorne, the acting Lord Commander.
Westerosi law is more consistent in the areas of property, inheritance, and succession — it privileges the powerful, not the common people.
Again and again in Season 4 we were reminded that in such a fundamentally unjust world, the people need a new kind of champion. Not someone who’s trying to become king or queen in order to theoretically save the realm, but someone who’ll fight to save the realm first.A Few Words from the Departed
Love stories on “Game of Thrones” tend to end rather badly — your lover dying in your arms, or pushing you through the Moon Door, or strangling you with a golden chain. We talked to actor Sibel Kekilli about the sad standoff between Tyrion and Shae in Season 4. (Adapted from an earlier interview with Kekilli.)
How did you find out about your character’s death?
Dan Weiss and David Benioff told me that my role would be slightly different from the original character in the books, a bit bigger. But as I hadn’t read the books at that point, I had no clue exactly what they meant. When I told some friends that I was going to be in the show, they spoiled the whole thing for me, big-time. I actually thought they were going to kill me off at the end of Season 3, so after reading the scripts for that season, I asked Dan and David if they had changed their minds and decided to put Shae on the throne at the end? Unfortunately, their answer was no. But they gave me the good news that my character would live for one more season. So at least that was a nice surprise.
What do you remember from your last day on set?
My last day on set was actually the strangulation scene with Peter Dinklage, and I was rather sad that my time on “Game of Thrones” had come to its end. But I thought it was really kind that Dan and David came over from another set to watch me die.
Did you read any of the fan reaction?
Unfortunately, I did once. Apparently people can be really mean these days, and some can’t differentiate between the fictional character and the real person. What bothered me the most was the fact that people didn’t believe Shae was really in love with Tyrion. But I’m happy that it also could be the other way around. I once met Barack Obama, and he just said, “I am so sorry that they killed you off,” with a big ironic smile. He was very kind and charming. And George R.R. Martin told me that if he had known me earlier, he wouldn’t have me killed. He liked my Shae better than the one in the books.
How did being on the show change your career?
It’s a bit crazy and scary at the same time. Sometimes I get recognized because of the show, even though it has been a while since I have been on the series. Sometimes it’s really funny, because they think they know me from somewhere or have met me before. And if they find out that I played Shae in the show, they immediately say, “Ah! You betrayed Tyrion!”
Who had your favorite death and why?
Viserys’s death was very memorable, and it had such an impact. And sorry to say, Joffrey’s death was very good — he was a horrible king, and his death scene was just magnificent.
Jack Gleeson (Joffrey Baratheon) announced an early retirement from acting well before the death of the loathsome Joffrey, citing a need to focus on his studies at Dublin’s Trinity College. Now, though, he’s easing his way back into show business as a member of the theater company Collapsing Horse, which produces shows focused around comedy and puppetry.
Pedro Pascal (Oberyn Martell) has gone from busting Lannisters to building cases against drug cartels in “Narcos.” Next, he’ll be playing a interplanetary gunfighter in the Star Wars TV series “The Mandalorian.”
Charles Dance (Tywin Lannister) has been very good about staying in touch with his old castmates. He appeared with his former “Thrones” daughter Lena Headey in “Pride and Prejudice and Zombies,” with the Khaleesi herself in “Me Before You” and with the Red Wedding groom in “Underworld: Blood Wars.” He even played the father of Conleth Hill (who played Varys) in the British sitcom “Hang Ups.”
Rose Leslie (Ygritte) fights only courtroom battles these days in her role as the young lawyer Maia Rindell on the “The Good Wife” spinoff “The Good Fight.”
• Our recap of Season 4. [NYTimes]
• The show and its many rapes. [NYTimes]
• More on that. [Think Progress]
• A celebration of violence. [The AV Club]
• Hanging out with George R.R. Martin. [Vulture]
• Joffrey speaks. [University Times]
• The Hound has a code. [Esquire]
• Rave of Thrones. [Vulture]
• The ultimate fate of Season 4 breakout star Ser Pounce. [EW]The Biggest Departure from the Books
There were several departures from the Song of Ice and Fire books in Season 4, the most controversial being that in the show, Jaime and Cersei attend the funeral for their dead son. After a furor erupted, the show’s creators and cast then gave everyone whiplash trying to explain it.
The books are divided into point-of-view chapters, and this particular juncture in “A Storm of Swords” is told from Jaime’s perspective. He has just returned to King’s Landing from his stint as a prisoner-of-war and discovers his son/nephew Joffrey is dead. Alone in the sept with Joffrey’s corpse, he and Cersei comfort one another with kisses and caresses. Cersei’s receptive, but she objects, weakly, when Jaime starts kissing her neck. “No,” she says. “Not here. The septons …” But Jaime kisses her again, until she moans. Then he knocks the candles off the altar and lifts Cersei up onto it. Next, she pounds on Jaime’s chest, “murmuring about the risk, the danger, about their father, about the septons, about the wrath of gods.”
This could be interpreted as a no, except that after Jaime starts having sex with Cersei, she begins whispering words that indicate assent (including the actual word “yes”): “Yes, my brother, sweet brother, yes, like that, yes, I have you, you’re home now, you’re home now, you’re home.”
It’s clear that Cersei’s initial objections were to the holy location — the Sept of Baelor — and to the presence of her dead son’s body. She reciprocates and consents to be roughly ravished, even if her consent is complicated. As author George R.R. Martin says, “Though the time and place is wildly inappropriate and Cersei is fearful of discovery, she is as hungry for him as he is for her.”
In the show, the circumstances are different. Jaime has been back in King’s Landing for a while and Cersei has been standoffish, telling him he’s been gone too long. The dialogue in the sex scene is different: We get her initial no, but not her later yes. She’s at first receptive to a kiss, but then pulls away. “You’re a hateful woman,” Jaime angrily tells her. “Why have the gods made me love a hateful woman?” He grabs at her and starts tearing at her clothes. “Jaime, not here, please,” Cersei says. “Please. Stop it. Stop it. Stop. No. Stop it. Stop. Stop. Stop. It’s not right. It’s not right. Don’t. Don’t.” That’s an awful lot of flat-out no.
Viewers and critics were disturbed and outraged by this scene, and there was much debate about whether what we saw was a rape. Some observers were unequivocal, sure that it was; others were confused by the ambiguous blocking and shot choices; and some thought — what the hey — Jaime was justified in taking what he wanted, however roughly.
Pressed for clarification, the show’s producers, the episode’s director and the actors themselves sent out mixed messages, publicly disagreeing with one another and even contradicting themselves about the intention of the scene. The director Alex Graves claimed at first that it was intended to look consensual. “It becomes consensual by the end,” he said in an interview with Hitfix, “because anything for them ultimately results in a turn-on, especially a power struggle.” In another interview, with Vulture, he attempted to clarify: “The big things to us that were so important, and that hopefully were not missed, is that before he rips her undergarment, she’s way into kissing him back. She’s kissing him aplenty.”
Graves then turned around and told the Hollywood Reporter that it was rape. Then during the “Inside the Episode” featurette, the showrunner David Benioff said the sex was forced: “She’s saying no, and he’s forcing himself on her.” The actor Nikolaj Coster-Waldau claimed that what we saw was both rape and not-rape. “It took me awhile to wrap my head around it,” he told the Daily Beast, “because I think that, for some people it’s just going to look like rape. The intention is that it’s not just that … There are moments where she gives in, and moments where she pushes him away.”
This confusion regarding a fictional rape came at a time when Americans were grappling with defining what constitutes consent and coercion in real life, especially in regards to a few high profile cases. (Emma Sulkowicz started carrying her mattress around Columbia University that year.)
Whether or not “Game of Thrones” intended Cersei to be raped by her brother/lover, the issue was dropped after this episode — we see no subsequent recriminations between Cersei and Jaime for the rest of Season 4. Which would be strange, if it had been rape, because Cersei would seem to be the last sort of person to let such a thing slide. Instead she simply tells Tywin about their incest and then returns to Jaime and vows her everlasting love. Hmmm.
Part of the viewer outrage that erupted around this scene was more plot-focused. It seemed to reverse the narrative direction of Jamie being on a redemption arc. People were just starting to like Jaime and they felt betrayed. Very few of the fans so concerned about Jaime’s narrative arc had as much to say about Cersei’s.
There have of course been ongoing objections to the sexual politics of Westeros — a place where women are repeatedly threatened with rape and in fact are raped quite a lot. What could be the reason for turning an instance of consensual sex in the books into what appears to be yet another rape in the show? Answer still awaited.
You have more lingering questions!
I have confusion over Daenerys’ provenance. She says her father was the Mad King, yet we know that Elia Martell was the Mad King’s wife, had two children with him, and all three of them were murdered by the Mountain. So who was Dany’s mother? It’s suggested that Dany is Jon Snow’s “aunt” or something like that, but if her father was the Mad King, and Jon’s father was the Mad King, too, then they are half siblings, with the same father. So what’s the real story? Help! — Roberta Smoodin
I’ve been grappling with Jon’s lineage for a while. I don’t buy that he’s a Targaryen. His hair gives ample evidence that he could be Robert Baratheon’s son. Why did George R.R. Martin go to such great lengths regarding hair color as it pertains to lineages just to abandon it now? How can Jon Snow with his curly black (Baratheon-like) hair come from a Targaryen (white blonde) and a Tully (brown/red)? It doesn’t make sense. Also, now Jon would be Dany’s nephew? — Susan Keating
Let’s tackle these two lineage queries together, and hopefully sort through the confusion before Jon and Dany continue the Targaryen family tradition of incest any further! King Aerys II, the Mad King, was Dany’s dad. But he was not married to Elia Martell — he was married to his own sister, Rhaella. Rhaella had three children — Rhaegar (the crown prince), Viserys and then Dany — but died from complications during Dany’s birth. Rhaegar was the one who married Elia Martell, and they had two children together, daughter Rhaenys and son Aegon. But Rhaegar abandoned Elia and the kids to run off with Lyanna Stark, with whom he had his third kid and her first.
Rhaegar (a Targaryen) and Lyanna (a Stark, not a Tully) could have blonde or brunette kids, but the chance of white blonde was slimmer than brunette since the lighter hair color is a recessive gene. In this case, the dominant gene (darker hair) won out, giving Jon more of the Stark coloring. (“The seed is strong.”) Although Lyanna was betrothed to Robert before running off with Rhaegar, this was not Robert’s baby. Rather, Lyanna made her brother Ned (and Robert’s BF) promise to protect the baby from Robert. “If Robert finds out, he’ll kill him. You know he will,” she told Ned on her death bed as she, too, died from childbirth. The new regime would have to wipe out the Targaryen line. And so Ned changed the kid’s birth name (Aegon Targaryen) to a bastard name of the North (Jon Snow) and claimed him as his own. Jon is roughly nine months older than Dany, but she is his paternal aunt.
• The Dinkles is my jam.
• Stephen King’s send-off to King Joffrey.
• Modernist “Game of Thrones.”
• “The Scream”
• Sandor Clegane, Colonel Sanders?
• For the pie.
[Sign up to get these straight to your inbox.]B:
彩霸王心水论坛【大】【西】【洋】【的】【海】【水】【没】【有】【一】【刻】【不】【在】【翻】【滚】，【浪】【花】【与】【波】【涛】【永】【远】【都】【不】【会】【疲】【倦】。 【与】【广】【袤】【无】【垠】【的】【大】【海】【相】【比】，【一】【个】【方】【圆】【不】【足】【百】【里】【的】【小】【岛】，【是】【那】【样】【的】【渺】【小】，【更】【别】【说】，【那】【个】【建】【在】【海】【边】【的】【钢】【铁】【建】【筑】。 【风】【越】【来】【越】【大】【了】。 【苏】【浩】【与】【酥】【酥】【席】【地】【而】【坐】，【温】【暖】【白】【光】【填】【满】【整】【个】【房】【间】。 【干】【干】【净】【净】【的】【地】【面】，【干】【干】【净】【净】【的】【墙】【壁】，【没】【有】【床】，【没】【有】【椅】【凳】，【目】【光】
【徐】【漾】【做】【了】【一】【个】【梦】。 【梦】【见】【厉】【霆】【深】【活】【生】【生】【从】【她】【肚】【子】【里】【取】【出】【孩】【子】。 【梦】【见】【她】【的】【孩】【子】【因】【为】【她】【受】【刺】【激】，【被】【引】【产】。 【梦】【见】【小】【七】【给】【她】【的】【安】【胎】【药】【里】【放】【藏】【红】【花】。 【梦】【见】【韩】【芷】【溪】【撞】【得】【徐】【烟】【半】【身】【不】【遂】。 【这】【一】【切】【的】【痛】【苦】，【都】【是】【源】【于】【六】【年】【的】【那】【一】【场】【算】【计】！ 【韩】【芷】【溪】，【该】【死】。 【徐】【漾】【缓】【缓】【睁】【开】【眼】【睛】。 “【徐】【漾】……”【厉】【霆】【深】【紧】【绷】【的】
【一】【身】【合】【身】【的】【皮】【甲】【在】【阳】【光】【下】【闪】【烁】【着】【暗】【银】【色】【光】【芒】，【齐】【腰】【长】【发】【束】【在】【身】【后】。【一】【把】【镶】【嵌】【了】【异】【兽】【晶】【核】【的】【长】【弓】【背】【在】【身】【后】，【这】【长】【弓】【不】【知】【是】【何】【材】【质】，【但】【看】【起】【来】【很】【是】【不】【凡】【的】【样】【子】。 【百】【里】【莼】【撅】【起】【嘴】【巴】【吹】【了】【下】【垂】【在】【眼】【前】【的】【发】【丝】：“【当】【然】【是】【夜】【合】【小】【弟】【的】【功】【劳】【啦】！【不】【说】【这】【个】，【你】【这】【是】【什】【么】【情】【况】？【你】【阿】【爹】【把】【你】【接】【回】【家】【了】？” 【被】【百】【里】【莼】【一】【把】【揽】【住】【肩】【膀】彩霸王心水论坛【想】【到】【这】【里】，**【的】【脸】【色】【也】【变】【了】。【他】【知】【道】【欧】【阳】【康】【永】【失】【踪】【了】，【却】【不】【觉】【得】【他】【会】【出】【什】【么】【事】。【毕】【竟】【他】【们】【相】【处】【的】【这】【段】【时】【间】【里】，【欧】【阳】【康】【永】【那】【个】【小】【子】【有】【什】【么】【本】【事】，【他】【还】【真】【没】【有】【看】【透】。 【那】【么】【有】【本】【事】【的】【一】【个】【人】，【要】【是】【出】【了】【事】，【那】【才】【是】【最】【大】【的】【损】【失】。 【这】【件】【事】【其】【实】【也】【怪】【他】【们】，【排】【挤】【对】【方】【太】【过】【于】【厉】【害】。【甚】【至】【可】【以】【说】，【只】【给】【欧】【阳】【康】【永】【了】【一】【个】【空】【头】
【费】【天】【朗】【一】【下】【子】【笑】【了】【起】【来】：“【老】【太】【太】，【现】【在】【是】【法】【制】【社】【会】【了】，【您】【这】【种】【动】【不】【动】【就】【要】【杀】【人】【的】【想】【法】【是】【行】【不】【通】【的】，【您】【不】【会】【以】【为】，【现】【在】【还】【是】【几】【十】【年】【前】【那】【样】，【随】【便】【让】【一】【个】【人】【从】【世】【界】【上】【消】【失】，【也】【不】【会】【有】【人】【追】【查】【到】【底】【吧】？” 【柳】【老】【太】【太】【用】【阴】【沉】【的】【目】【光】【盯】【着】【他】：“【你】【不】【愿】【意】，【那】【就】【跟】【她】【一】【起】【去】【死】！【你】【早】【就】【该】【死】【了】！” “【这】【恐】【怕】【不】【能】【让】【您】【老】【如】
“【陈】【哥】，【有】【话】【好】【说】，【他】【没】【别】【的】【意】【思】【的】。”【高】【浅】【语】【乌】【鸦】【似】【的】【睫】【毛】【上】【沾】【上】【了】【泪】【珠】，【无】【措】【的】【用】【一】【双】【柔】【美】【的】【手】【抵】【在】【陈】【诚】【的】【胸】【膛】【前】，【无】【力】【的】【阻】【止】【他】【的】【进】【攻】。 【这】【番】【可】【怜】【可】【爱】【的】【模】【样】，【顿】【时】【让】【心】【怀】【鬼】【胎】【的】【陈】【诚】【晃】【了】【神】。 “【哼】，【看】【在】【浅】【语】【的】【份】【上】，【绕】【过】【你】【这】【一】【回】【了】。【你】【们】【的】【事】，【我】【不】【管】【了】，【随】【你】【们】【吧】。” “【陈】【哥】.”
【荀】【愈】【站】【在】【窗】【前】。 【夕】【阳】【余】【晖】【散】【尽】，【霞】【光】【微】【敛】，【渐】【渐】【黑】【沉】【的】【天】【色】【下】，【他】【孤】【身】【而】【立】，【满】【身】【苍】【凉】。 【手】【边】【一】【支】【还】【未】【燃】【尽】【的】【烟】，【冒】【着】【点】【点】【星】【火】。 “【老】【荀】【同】【志】，【问】【不】【出】【来】【信】【息】，【也】【不】【用】【这】【么】【丧】【吧】！” 【凉】【婵】【站】【在】【门】【口】，【笑】【嘻】【嘻】【的】【说】。 【周】【光】【羽】【被】【抓】【起】【来】【之】【后】，【是】【荀】【愈】【亲】【自】【审】【的】。 【从】【被】【抓】，【到】【现】【在】【已】【经】【过】【去】【了】【二】【十】【四】