"Game Of Thrones" - "Dark Wings, Dark Words": These, These, These Are The Words, The Words That Maketh Murder
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"Game Of Thrones" - "Dark Wings, Dark Words": These, These, These Are The Words, The Words That Maketh Murder

By TK | TV Reviews | April 8, 2013 | Comments ()


Never let it be said that the show runners behind HBO's "Game Of Thrones" don't take their time building the story. Episode Two of this third season, "Dark Wings, Dark Words," was another leisurely paced sixty minutes, filled with some crackling dialogue and the return of some of our favorite characters, as well as the introduction of some that may well become new favorites.

Episode Two abandons Daenerys Targarean and her adventures across the sea, and instead focuses on the ongoing saga of the fractured Stark family and the various other characters who are linked to them. We start with young Bran and younger Rickon, travelling North to the Wall in search of sanctuary after the sacking and razing of Winterfell. One of the more refreshing elements of the television show is that Isaac Hempstead-Wright has brought a sense of quiet, sad resignation to Bran Stark, and made him quite a sympathetic character -- a feat, considering that he's one of my least favorite characters from the novels (it always seemed like every Bran-centered chapter ground the books' pacing to a halt). There's a mysteriousness to Bran, as if there is a bizarre, mystical greatness hidden within his broken little body. The appearance of the strange Reed siblings, particularly the young mystic Jojen (Thomas Brodie-Sangster), finally gives a sense of direction and focus to those curious abilities that confuses the youngster so. All of a sudden, a solid foundation has been built once you add in the dogged loyalty of Hodor, the sharp-eyed wit of Osha, and the pint-sized lethality of young Meera Reed (Ellie Kendrick) to their party.

Speaking of the destruction of Winterfell, the tale of Robb Stark, the King of the North, gets a little more tragic with each passing week. With forces scattered, allies losing faith when they aren't flat out resenting him for his marital gaffe, and a mother he himself has clapped in irons, one wonders how much more our young king can take. And yet he finds himself on the receiving end of more grim news, learning that Catelyn's father has died, and worse yet, that Winterfell is destroyed and her other two sons missing. Catelyn herself is one of the more complicated characters in the show, one who was initially handled rather clumsily, but Michelle Fairley has grown into the part with a wan, regal grace. Her moment with Talisa was one of her most impressive bits of acting, a woman wracked with guilt over her inability to love the child that wasn't hers. Most poignantly heartrending was this line: "And everything that's happened since then, all the horror that has come to my family, is because I couldn't love a motherless child." It was a beautifully delivered little monologue, full of heartbreak and self-loathing and tragedy. Catelyn is the character that links the Stark children together -- their individual storylines focus on their own respective plights, but it's Catelyn that ties those threads together.

In King's Landing, we are given another glimpse behind the eyes of the boy king we all love to hate, Joffrey Baratheon. He is truly a loathsome little creature, and we should take a moment to acknowledge the absolutely killer performance of Jack Gleeson, a young man with the unenviable task of portraying one of the least-liked characters on television. There's a new element to Joffrey, too, one that's been riveting to watch, and that's his growth into adulthood. His petty cruelties are evolving into a harsh and vicious venality, and how that venality is addressed and manipulated by the women in his life is fascinating. Queen Cersei is desperately trying to hold on to Joffrey, to mold him into her image and show him how to rule and who to trust, as Joffrey shrinks more and more from her motherly ministrations. On the other hand, Margaery Tyrell is proving herself to be quite a brilliant manipulator as well. One would have assumed that her meeting with Sansa, with Sansa blurting out the truth about the young king, would have given her pause if not outright an outright reversal when it comes to Joffrey. Yet there's a stunning, sexually charged kind of Machiavellian brilliance to Margaery. With a combination of doe-eyed innocence, sultry seductions, slinky sycophancy mixed with a sense of strength and pride, she deftly corners Joffrey by playing into his depravities and slowly begins to make him her own.

One realizes that Margaery doesn't want a husband, doesn't want a grand title -- she wants to rule -- and perhaps what Cersei distrusts most is the warped image of herself she sees within her. Yet that cunning is clearly a family trait, as the introduction of Lady Olenna Redwyne, the Queen of Thorns (Diana Rigg), demonstrates just where that strength and guile comes from. Rigg was absolutely terrific in her debut as the salty, brazen and blunt-spoken Olenna, an undiplomatic schemer who is virtually the anti-Catelyn. The Tyrells hunger for power and leverage, and Olenna and Margaery played a woeful, anxious Sansa perfectly in order to gain the tools and information they need to turn the events to their favor.

There were other, smaller pieces to this week's stories that weren't quite as successful. Tyrion's scene in his chambers with Shae wasn't particularly affecting. It served to show Tyrion's weakness when it comes to his ladylove, but Shae's ridiculous jealousy and petulance was off-putting and not helped by a fairly pedestrian performance by Sibel Kekilli. Similarly, while I enjoy Sam Tarly as a character and John Bradley's depiction, the scene of the stumbling, pathetic Sam didn't really give us anything new about any of the characters involved. However, elsewhere north of the Wall, I did enjoy the quiet, frost-breathed dialogue between Jon Snow and Mance Rayder -- I'm very much enjoying the slow indoctrination of Jon Snow via the laconic, sharp-eyed Rayder. And the scene of Orell, the skin-changer, watching the skies was wondrously creepy and intense.

The two best things about this week were, for me, the return of Arya Stark and the Brienne & Jaime Show. Arya and her little band of intrepid cohorts, Gendry and Hot Pie, encounter new challenges with the appearance of Thoros of Myr and his gang of warriors. Thoros, portrayed with a bright-eyed insouciance by Paul Kaye, is an excellent and lighthearted addition to the show that I look forward to seeing more of, a bawdy yet dangerous bravado that adds a needed bit of levity, even in the most serious moments. Yet most importantly, Arya continues to grow and impress, and her gifts of cleverness and courage, even in the face of clearly insurmountable odds, remain a joy to behold.

Yet my favorite moment was the battle between Jaime and Brienne, something that they've both likely secretly been thirsting for since day one. Brienne is such an amazing character, with a childlike innocence and a fierce nobility, two traits that have no place in this harsh and unyielding world. Jaime Lannister is the perfect foil, a corrupted and bitter noble who appears to lack even a shred of nobility. They are oil and water and they are perfect together. Nikolaj Coster-Waldau and Gwendoline Christie each devour their roles, becoming their characters completely, and much like the show's other great rivaliries -- Arya and Tywin Lannister, Varys and Littlefinger, Tyrion and almost everyone -- their pairing gives off a crackling intensity. Jaime's goading and eventual tricking of Brienne into a fight was great, and the fight itself was nicely choreographed, only to end with danger overtaking them and Brienne's sad realization that perhaps Jaime's awful inclinations might have saved their lives, had she only heeded him.

"Game Of Thrones" is taking a slowly simmering approach thus far, gradually reintroducing the sprawling cast and gently immersing us back into the world. I appreciate the slow burn, though I confess that I thirst for a bit more action now and again. Yet it's so much fun to simply sit back and observe the interactions that by the episodes end, despite little of substance always happening, you barely notice or even mind. Each week brings more loose ends -- none so dangling and baffling as the gruesome torture of Theon Greyjoy -- yet does so by engaging us viewers so thoroughly that we eagerly lap it up, waiting each week to see where they will take us.

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Comments Are Welcome, Bigots and Trolls Are Not

  • lovezoid

    Did anyone else spot the UK Office's Mackenzie Crook (AKA Gareth) as the warg? I don't know the books but I really hope he gets a bit more to do as the series progresses

  • MissAmynae

    That's who that was! nice catch.

  • duckandcover

    Hell yes! It took me a rewatch, but I spotted him as Orell. He was a little treasure in this episode.

  • Completely agree with you on all the strengths and weaknesses of the show--though even calling them weaknesses seems a little harsh for something so good.

    But I am completely exhausted of "Let's Make Fun of Fat Sam" some more. We get it, show. He's fat and he's slow and he's stupid and needs to be helped all the time. WE GET IT. Though, fine, I could (and did) easily yell this at the book every time he shows up, but I wish they wouldn't waste so much time on him. It's just taking time away from all the gore and nudity!

  • sean

    To be fair, picking on Sibel Kekilli's performance isn't nice. You can't really expect ex-porn stars to be Meryl Streep. She is there to be eye candy. I actually think she is far better than I expected.

  • Ghisent

    No, she's not there to be eye candy. She's a legitimate actress, with more than 8 years of professional film and television acting on her resume. And the show prides itself on its strong acting, so that excuse doesn't hold water. She's just not fitting into the role very well. While I agree that her performance has been uneven, it's unfair to dismissively refer to her as just an "ex porn-star."

  • Strand

    I'm warming up to her. The 'big sister' relationship she's developing with Sansa is quite interesting, despite being entirely fabricated by the show. She was absolutely unbearable in season one. Way too sassy and presumptuous for a supposed prostitute in that world, where even talking back will get your teeth knocked out.

    I'm also unsure why they changed her nationality. It's not adding anything to the character, other than turning her into "ze foreign 'ore!" stereotype.

  • Tinkerville

    I had been waiting with bated breath for the appearance of Jojen and Meera Reed (my favorite characters in the book) and they did not disappoint. With just the couple of scenes we had with them they already seem perfect for the characters. I did an audible whoop when Jojen appeared in Bran's dream.

    I was also thrilled that the Queen of Thorns was everything I was hoping for. The Tyrells have become one of my favorite groups of characters to watch, which is an improvement on the books in my opinion.

  • PDamian

    I liked Jojen in the books, and I'm liking him in the TV show, but I'm not crazy about the casting choice. Thomas Sangster's a pretty good actor, but for some reason, I'm finding it hard to see him as Jojen. Maybe it's because I keep seeing the parka-clad kid in Love Actually.

  • BendinIntheWind

    I always thought book-Meera was a much more interesting character than Jojen, but damn if the show isn't helping me change my mind. Really excited to see how these two play out.

    (No offense to the actress playing Meera - I thought she was great, but I was just pleasantly surprised at how much I liked Jojen)

  • Ted Zancha

    Can I just say that the scenes with Jamie and Brienne were beautifully shot. Some of the landscape shots were amazing (as were the scenes with John Snow). It is stunning how beautiful this show is sometimes. Now I need to know where they film it so I can go visit.

  • TLK

    Mostly Northern Ireland I believe. The stuff with Jon Snow is shot in Iceland: http://www.youtube.com/watch?v...
    The fact that they try to shoot on location instead of using green screen all the time is what makes the show so gorgeous.

  • foolsage

    The Brienne/Jamie stuff appears to have been shot in Northern Ireland.


  • BWeaves

    Greenscreen 5, lot 2, set 1, around the corner from the dumpsters.

  • Strand

    Actually, pretty much all of the show is shot on location outside a few distinctly 'fantasy' scenes like the Eyrie, scenes shot on ship decks, etc.

  • Ted Zancha

    But everyone in this shows seems to be walking. All the time. What, do they have them on a treadmill or something? HOLY SHIT, THAT'S HOW ACTORS STAY FIT! Genius.

  • BendinIntheWind

    So happy to see Arya again, but was anyone else supremely disappointed in her reaction to The Hound? She's consistently proven herself to be one of the cleverest characters when it comes to navigating through a world of hostile strangers and disguising her identity as needed. But might as well have worn a big sign on her forehead that said "Hey, Hound! Remember me?"

    Jump out the window, girl! Stab someone! Start a fire to create a diversion! SOMETHING!

  • foolsage

    I dunno; they almost got away there. Arya thought quickly and took what appeared to be the only exit. I'm not sure that starting a fire would have helped her avoid attention at that point.

  • Agreed. And jumping out the window would've made Thoros even more suspicious, no?

  • Credit fully due here for making Joffrey more than the simple caricature he was written to be, and easily would have to be without some effort to build in a bit of human-like anchoring. Save for the very end of last season, these two episodes have made great strides to improve on that problem, by showing his insecure, self-loathing little brain try to calculate how to be both a grownup amidst others and normal 'eager-to-please' teenager. He's still horrible and easy to hate, but more than a simple cartoon of evil.

  • duckandcover

    I don't think he was a caricature in the books and I really think the credit lies not only with the writing, but the actor as well. Joffrey can be easy to cast -- he's a little privileged psychopath, but it's Jack Gleeson's venomous look and movements that really sell the entire ensemble.

  • Sara_Tonin00

    The one thing I thought is: good job, Cersei. He's turning out to be exactly the son you raised. That sucks for you, but you've got only yourself to blame.

  • Yes, and the realization that it's worse than she could have imagined.

  • Rocabarra

    Things I love about the show:

    1.) Getting to look at Nikolaj Coster-Waldau, plus the Jaime-Brienne show.
    2.) Sophie Turner's portrayal of Sansa, who makes me care for the character far earlier in the series than when reading the books.
    3.) Making me more sympathetic to Catelyn for her intense hatred of Jon Snow, which I found repellant in the books.

  • Kala

    RE: Point 3.

    As much as I hate anything Talisa-related (my least favorite show addition), I loved the Catelyn's discussion with her for that exact same reason. I could never understand her relentless hatred of Snow in the books. It was never examined. Yes, I'm sure it hurt like hell when Ned came home with that baby, but how a woman would never, ever warm up to him needs just a bit of justification. After so many years of playing with her children and being there for every first of his, I would think the woman would let the kid have a place at the dinner table after a while. I was grateful for the speech during last night's show, because though it didn't fully justify her behavior, at least it let the audience know that she also understood it to be irrational behavior.

  • deadnotsleeping

    How was her behavior irrational? Jon's not her stepson, and she's not a wicked stepmother. That's not how Westeros works. He's a bastard, and to Catelyn he is proof of her "honorable" husband's dishonor toward their marriage (SPOILER SPOILER SPOILER of course this is arguable END SPOILER).

    Yes, she lashed out at Jon when Bran was near death and she hadn't slept (something he brushes off, too—fans seem to read much more into this than Jon ever does), and yes, she sits him away from the head table when the King of Westeros comes to visit, but we've all seen how Cersei stands on ceremony, and Jon isn't a Stark.

    Catelyn isn't his mother and no one in Westeros would expect her to be. Look at Robert Baratheon's bastards—do you think Gendry wouldn't kill to grow up like Jon Snow did? Jon had a father, a family, and the best upbringing (both schooling and training) that Westeros offers. Catelyn begrudged him none of that. But he was not her son, and his existence—particularly within the sphere of Winterfell—was a constant threat to her legitimate children.

    I'm pissed off that the show, which has already maligned Catelyn's character from the books almost beyond recognition, tries to garner sympathy for Catelyn by reframing this relationship. There was nothing wrong with it. Catelyn was a Tully before she was a Stark, which means Family, Duty, Honor are her watchwords, and Jon Snow is not her family. She owes him no duty, just as he brings her no honor.

    The idea that she somehow caused The War of the Five Kings by not loving Jon Snow is hilarious. He chose to join the Night's Watch, just as Benjen (A STARK) before him, because there's not much for second or third sons to do in general, and it's honorable and hugely important. If anything, Jon's contributions to the Wall and the nonsense with the White Walkers show that Catelyn was right not to coddle him; had he stayed at Winterfell 5ever, the Seven Kingdoms might have already fallen.

    Edited: Er, sorry, I have a lot of Cat-related feelings.

  • UnderTheDark

    I think that Cat was saying that her inability to keep her promise to the gods is what's led to her family's downfall... she feels that she (and everyone she loves) is being punished for THAT.

  • splinter

    catelyn did indeed cause the war of the five kings but it had nothing to do with jon snow. it was her encounter with tyrion in that inn and having her people arrest him that started the chain of events that has led us to where we are now. correct me if i'm wrong!

  • duckandcover

    She didn't start the War of the Five Kings. She just managed to piss off the most prestigious family in Westeros that has a long and detailed history of overreacting to everything. Tywin Lannister even has a song about his own overreaction -- "The Rains of Castamere."

    There was no one point in the story that started the war; it was an amassing of everyone with their heads up their asses for fortune, glory, love, and everything else in between and them all reacting to each other like volatile nitroglycerin. Most people attribute Jon Arryn's death as being the start of the war more than anything.

  • splinter

    thanks for that. you're obviously more up on the details than i am. however.....

    you say, "There was no one point in the story that started the war" yet wars (like many things) have a beginning, something that sparks its start. you yourself say "Most people attribute Jon Arryn's death as being the start of the war." i concur: most people.

    i suppose i'm not one of them. it seems to me that catlelyn's rash action in that inn on that night was the spark that set that "volatile nitroglycerin" alight.

    i'm just sayin'!

  • duckandcover

    Most people attribute Jon Arryn's death as the start because it was in his death that his wife Lysa fled to the Eyrie out of paranoia and actual fear, brought Robert Baratheon to Winterfell to seek out a Hand he could trust, Ned Stark with Arya and Sansa (which was just the worst decision ever) to King's Landing to fulfill his king's wishes, Bran's twice-attempted murder, so on and so forth.

  • duckandcover

    This. A million times, this.

  • That was my favorite part. It was a little dusty in my living room after that scene. I can understand not liking Catelyn, but I don't get people who can't separate the character from Michelle Fairley's awesome performance. She's selling her part every bit as hard as Jack Gleeson.

  • Kala

    The Shae scene was one of the low points for sure. I was actually sneering as she was pouting about his referring to Sansa as "a great beauty." I don't know why the writers think that petty show of jealousy would solidify the relationship in the viewers' eyes. Shae only comes off as silly, which undermines her unofficial status as 'Sansa's Protector.'

    The majority of the show is brilliant. As much as I love Arya, Margaery is quickly becoming my favorite on-screen player. It is SO much fun watching her manipulate Joffrey and pinpoint his weak spot, namely, his emerging sexual sadism.

    Brienne and Jaime fight? Total lady boner over here.

  • Sara_Tonin00

    I thought she was just playing. But regardless, Dinklage's delivery, was for me, the weak point of that scene. Seriously. I love him, but every line is the same, and they sounded particularly wooden.

  • What bummed me out about that scene is that it seemed to be from Shae's POV rather than Tyrion's, and that's a first. I think his performance would've been fine, if we immediately understood he was just coming from his meeting with Tywin. But I'm just assuming that's where he was, since last week that was the only time he left his chambers. If it wasn't, it's weird to see Tyrion without any context to his activities and I think that threw things off. Not against more scenes from Shae's perspective, but maybe not with Tyrion...

  • Sara_Tonin00

    I don't think he was coming straight from Tywin's - the implication was that he'd already explained to her that his father would have his whore killed (I took that to be a more recent, urgent threat than the one made before Tywin came back into town, which Tyrion had laughed off)

  • Yeah, I didn't think that was it. Maybe he was just breaking his fast or something, but it felt weird not knowing what he was up to.

  • foolsage

    I didn't have the same reaction. To me, Tyrion's reaction there was a muddled mix of frustration and unwillingness to express that frustration. Shae isn't taking things seriously, and that worries Tyrion, but he doesn't want to upset her or drive her away, so he's unsure how to proceed. That's completely different from more or less every other mood we see from Tyrion, but I think it was deliberate.

  • foolsage

    I don't think the goal was to solidify the relationship, but rather to show Shae's weakness. Aaaaand that's all I ought to say about that. ;)

  • space_oddity

    I think you're right.

  • Strand

    I loved the Olenna Tyrell scene, even if I still can't unsee Maggie Smith in that role. She just has to turn her dowager countess Old World sass up to 11.

    Joffrey that little shit. I think he likes girls even less than Loras Tyrell. I think they're trying to show that he's not just a petulant boy king, he's an outright psychopath who gets wood by killing things. He was practically bouncing off walls fondling that new crossbow while Margeary's shamelessly flirting with him.

    Last week, I noticed Sansa is taller than Littlefinger (played by Aiden Gillen who's already taller than his character's supposed to be), and now Bran has gone full Chamber of Secrets already. He looks about as old as Robb is supposed to start the series. These pups grow up so fast!

  • PDamian

    Good grief, I love that photo!

  • sean

    That is actually an issue for me. The young actors have grown up. A lot. In the show, perhaps a year has passed. Maybe 2 at the most. The young ones have aged a lot. Sophie Turner has grown from a pretty skinny girl to a tall curvy gorgeous woman. Maisie Williams is all grown up too. The boys as well. I would have to think some roles are going to be recast shortly.

  • MissAmynae

    I'm thinking they're just gonna pull a Harry Potter and leave everyone as they are- at least I hope so. Just as in HP, they've translated the books so beautifully, casting-wise. There'd be peasants with pitchforks in the streets is they recast Arya.

  • Eh, it was a bit of a shock at first, but it pretty quickly stopped mattering so much to me. The actors are so good, and I get that kids grow up, blahblah, let's move along. And I'd much rather have that than have them replace the actors when we're already familiar (and love) how the originals play the characters.

  • PDamian

    I am so relieved that Theon's torture at the hands of [REDACTED] wasn't as explicit or extended as in the book. I found last night's scenes hard to take, and don't think I could have handled more.

    And Arya is fierce. Love her.

    The review is spot on. The slowly unfolding dynamic between Margaery and Cersei as they battle for control over Joffrey is delicious, as is the relationship between Jaime and Brienne. Man oh man, this show has me trippin.'

  • BendinIntheWind

    I don't think the show has revealed yet where Theon is being held or by whom... you might want to withhold that info for the non-book readers...

  • Jenn TheYellowDart

    I thought that that was implied, what with Theon being knocked out and left at Winterfell as [REDACTED] was arriving. It's inferred that the torturer was [REDACTED].

  • duckandcover

    It was heavily implied, like a blanket smothering you in your sleep, but only if you knew what to listen for and if you're well-versed in putting what could be seen as tedious details a character said in an episode together to form a theory. It's clear by the responses in this thread, as well as the editing that needed to be done, that 2+2 is still 5 for some viewers. It won't be for long, given the preview for next week's episode.

  • Strand

    Not at all. There was at least one guy in the background wearing Greyjoy armour, so the director is at least attempting misdirection.

  • TK

    Yeah, let's be a little more careful folks. I don't want to have to keep editing comments.

  • Jenn TheYellowDart

    My bad; I didn't catch that background guy. Won't happen again.

  • PDamian

    My sincere apologies. I thought it was plainly obvious, but what's obvious is that I keep conflating the show and the books in my head. Mea culpa, mea culpa, mea maxima culpa ...

  • Strand

    Spoilers dude.

  • PDamian

    Again, my bad.

  • Klempenski

    How and when was Theon captured to be tortured? My U-Verse was acting up last night and all I caught was his finger about to be removed.

  • lowercase_ryan

    He got captured at Winterfell at the end of last season.

    Also, I didn't think they cut off the finger, they just shoved a knife into the end of his finger like reverse Wolverine adamantium claws.

    Which is incredibly messed up.

  • jollies

    Looked like he was not cutting off a finger, but instead removing a fingernail (or jamming sharp things underneath). I had to look away, so I missed the very last little bit of that scene.

  • Ludo_88

    About those scenes. I think Alfie Allen could've done better portraying them pains...

  • lowercase_ryan

    My only beef/fear concerning the show thus far is that the story has become so impossibly huge that I think we'll be seeing a lot more of the every other week appearances. IE: No dragons this week. With so many stories and so few episodes I fear that by the end of the season I will feel like I haven't gotten enough of my favorite characters.

  • duckandcover

    The story is inherently huge, even without everything that's been cut out. The POVs in the books don't go in any sort of order and you could jump from Westeros to Slaver's Bay to Dorne in a span of three chapters. However, I do wish that they'd expand the length of time each episode is; it seems like both episodes so far have ended on weak "okay .." plot moments because of time constraints.

  • This dynamic also shows why binge-watching is becoming a thing. For a story this complex and immersive, it really helps deepen the experience to be able to to go to there for a good stretch of time.

  • Kristen Mc

    But to be fair, sometimes you don't hear from characters in the books for several chapters. Too bad each episode can't be two hours long.....probably still wouldn't be enough for me.

  • lowercase_ryan

    True and true. In fact if I'm being honest I just want moar and I'm mentally preparing myself to be disappointed.

  • duckandcover

    It served to show Tyrion’s weakness when it comes to his ladylove, but Shae’s ridiculous jealousy and petulance was off-putting and not helped by a fairly pedestrian performance by Sibel Kekilli.

    They're really trying to sell this relationship, but I'm not buying it and I haven't since that gooey scene in season 2 where he goes looking for her after Cersei reveals that she captured his whore. Ros burned me on accepting another whore whose main goal in the show is to be the joint in which the exposition bends and that meeting between the two while Littlefinger tried to sell Sansa on the idea of a pervert boat ride in episode 1 did that no favors, either.

  • MissAmynae

    I agree. Hers was a character that didn't need expanding, and I wonder about complications as the story continues. I also find the actress' delivery weak, nauseating, and flat out irritating, to be frank. Open your damn mouth when you're talking, Shae, and stop acting like a spoiled little girl. Be the strong, jaded whore we thought you were in the books.

  • duckandcover

    She was really selling the strong, jaded part in the beginning, but now it seems like she'd be better served to be a background piece rather than a character with lines these days. Yes, Shae, we're very aware that people need to look out for Sansa, since she's clearly heading into danger. Thanks for the head's up.

  • MissAmynae

    Well said. The first few episodes she was in, there was a chemistry that seems to have faded. I can't tell if its writing or performance, or a combo.

    I'm assuming you haven't read the books, so I'll say that Martin does use various recurring whores to further the story- minor but important players. Problem is that it would be damn near impossible to keep them straight on the show. Ros the Exponential Whore still just ticks me off, because she was created to replace more compelling individuals.

  • duckandcover

    I've read up to A Feast for Crows, but have had the majority of A Dance with Dragons spoiled for me in order to keep up as I wait for the paperback edition. (I have a weird thing about not reading hardcovers.)

  • MissAmynae

    aw, that dirty rat, spoiling you!

    and totally agree- hardcovers are heavy- if i read one and like it, i'll get the paperback for repeat readings.

  • Kristen Mc

    I think the reasoning behind Shae's actions is more one dimensional than looking out for Sansa. I think the show writers are trying to set up a jealousy thing that would explain why she chooses to do certain things later...you know? They have changed the dynamic of Shae so much in my mind. In the books, she was never really jealous for the same reasons she is in the show. Agh, it's hard to say what I mean without revealing too much. Hope I am making sense.

  • duckandcover


    (Yes, you're making sense. I never thought about it that way.)

  • MissAmynae

    yeah, the missing interactions with {redacted} are starting to show. I'm self-redacting, trying to save TK some time, hehe.

  • I'd say the execution isn't great, at this point in the relationship. However it matters and you'll see why.

  • duckandcover

    I know.

  • I think this is where the book diversion is really showing weakness. I mean, I did not care for Shae in the books either (she's mainly a whiny little... okay, whiny little whore, but whatever.)

    I mean, I get why they're doing it the way they are in the show, but it's not making any sense as far as where it may go in relation to the direction the books go. (Seriously.. I mean, True Blood has gone completely off the rails as far as sticking to the books, and I'm hoping GoT does not do that too.)

  • duckandcover

    Exactly. I get why they're doing it, too, but it's just ringing hollow. Like, when what happens happens (if it does), I'm not going to howl and tear my clothes about it, know what I mean?

  • Kristen Mc

    Loving it so far. Best line last night "it's a shame the throne isn't made of cocks, they'd have never got him off it."
    I could watch an entire show of just Jaime and Brienne.

  • Pants-are-a-must

    I do hope it continues, considering the unexpected ending of that duel. After she kicked his ass to Qarth and back, that is.

  • Tinkerville

    What I wouldn't give for a Starsky and Hutch style spinoff with these two.

  • Strand

    He's a magnificent bastard. That whole scene was brilliant, even if he wasn't quite as snarky in the book.

    "You're not Renly's type I'm afraid. He preferred curly-haired little girls like Loras Tyrell. You're too much man for him."

    Oh no he didn't!

  • Muhnah_Muhnah

    Yes, that one made me snort my tea! It's quite a mystery how Jaime can be such an incestuous child-murdering asshole and so fucking charming at the same time.

  • Wednesday

    And yet Jaime also shows a little compassion by telling Brienne he understands all too well that you can't help who you love. I think Jaime, more than any other character, made me nuts for GoT. I could see how Martin was totally manipulating the reader emotionally, and I signed up for that ride with eyes wide open.

  • logan

    For my money and yes this is why I have HBO, GoT is the best show on TV. Most weeks the show ends with me thinking "No i want more! and "It's been an hour already?". Of course many wont even watch it because it is "fantasy" but it is as well written and acted as anything I have seen on TV.

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