Skip to main content

Game of Thrones Review: "No One"


          I can’t help but notice the last time we saw this much of the Riverlands on Game of Thrones was the Red Wedding. This time though things were slightly less violent, but Blackfish didn’t get away.
          “No One” brought a couple storylines to an end while revving up another couple, had some pretty good performances, and character reunions that ranged from bittersweet to “you again?” to “thank god you’re here!” It does pick up on the cliffhangers from last week, and delivers on them well, but the more intense stuff is still to come. Especially with next week’s episode being titled “Battle of the Bastards” (which reminds me that Ramsay hasn’t shown up in a while).
          I’m noticing people are travelling very quickly in Westeros as already Brienne has reached Riverrun. Bronn and Podrick have a reunion typical of their characters and I couldn’t help but share Bronn’s sentiments of admiration that Podrick’s still alive (both are characters you wouldn’t have thought would make it this far). They share a bit of a funny routine. Jamie though proud that Brienne’s been able to do her duty is not in a position to help her as Blackfish won’t relinquish the castle to either of them, which Brienne finds out for herself. Blackfish though respectful of Sansa’s birthright refuses to abandon his for a relative he barely knows. Clive Russell is great and though stubborn you respect his dedication and acceptance to die defending his home. Jamie is forced to choose another option. In one of the episode’s best scenes, he visits the captive Edmure who disgusted with Jamie’s actions, is forced to listen as Jamie compares his late sister Cat to Cersei Lannister, and Jamie declares he’s prepared to murder every Tully if it’ll get him back to King’s Landing and her, including Edmure’s son who he’s never met. The tension in the scene is amped up and you feel the mutual disrespect from Nikolaj Coster-Waldau’s and Tobias Menzies’ performances. The result is Edmure being sent out to order the drawbridge of Riverrun lowered, and despite Blackfish’s protests that it’s obviously a trap, the soldiers do as commanded, Edmure being the actual Lord of Riverrun. The Freys and Jamie’s army enter and retake the castle, Blackfish nobly dies off screen, and Brienne and Podrick leave by boat their mission failed. I really liked the bit where Jamie saw her leaving but doesn’t try to capture her out of attachment. Somehow theirs has become a sweet relationship and if this is their last encounter, it was a good one. This sequence was a really good conclusion to a fairly recent plot development and even though its sad to see the Tullys didn’t win this one, perhaps this story isn’t quite over, and hell maybe Edmure will get some power back over his captors. 
          Someone else in King’s Landing is beginning to get her power back, as Cersei refuses an order from the Faith Militant to go to the Sept. To make an example she sets the Mountain on them, who kills one and scares the living shit out of the rest. Unfortunately she later discovers that in addition to being no longer allowed by her son’s side on the Iron Throne (Kevan’s no help either), he has outlawed trial by combat purely because of that earlier demonstration, leaving Cersei almost nothing to defend herself. Though apparently Qyburn who it’s nice to see again, has confirmation of some rumour she’s heard, possibly something that will bring down the High Sparrow. Tyrion Lannister is also not having a good time as he starts off the episode by losing Varys, who’s off to Westeros to find more allies. Tyrion’s in a bit of denial that everything’s going well despite the state of Mereen being a powder keg. There’s a scene where he tries to teach Missandei and Grey Worm humour by telling Westeros jokes that they clearly wouldn’t get. But they begin to bond over Grey Worm’s own joke and while a scene like this is somewhat just filler, we do get a little of each character’s personality that I can’t fault it for not filling a purpose. Their levity is interrupted though by a bombardment by slavers off the shore that continues into the night when Danaerys finally shows up on her dragon. Though we don’t see her end the conflict, we at least know who’s got the bigger guns.
          Oh yeah, I almost forgot about those big cliffhangers. The Hound kills a few men in a kind of funny scene where he criticizes how terrible one guy is at dying before immediately killing him. He then finds the Brotherhood Without Banners about to execute the men who’d massacred that village, funnily enough running into the same man he’d once killed, Beric Dondarrion as well as his Red Priest companion Thoros of Myr. It’s good to see Richard Dormer again. Dondarrion permits the Hound to kill two of the three men but only by hanging. He then invites the Hound to join them, using the same rhetoric of it not being too late to do good that Ian McShane did last week (damn I miss Ian McShane!). It’s interesting that the brotherhood the Hound was ready to kill after last week may end up being his next family.
          And finally in Braavos, Arya does wind up finding sympathy and is nursed back to health by Lady Crane. They have a great conversation about seeing the edge of the world though you kind of want Arya to join her acting troupe. However, though Arya couldn’t kill her, she’s killed anyway by the Faceless follower who’s returned to finish the job and we get an extended chase during which Arya manages a number of stunts she’s in no condition for and a few times should wind up with further injuries if not paralysis. She does eventually start bleeding again, the strain on her wounds too much, but she’s able to lure her enemy to the place she’s hidden Needle. In a pretty awesome move, she extinguishes the one candle in the room with her sword and next thing you know the girl’s face shows up in the House of Black and White, Arya having clumsily removed it after against the odds killing her rival. She confronts Jaqen who tells her she is now “No One” (though clearly he’s just saying that because she has Needle prodding him in the chest). She renounces it however, states she’s Arya Stark and is going home. So now all the Starks save for Bran are making their way back to Winterfell it seems, and while it’s nice to have Arya back I can’t help but feel her time with the Faceless Men didn’t amount to a whole lot. She got some training, better at killing, but now she’s done with them and I feel like we didn’t need to see as much of them and their ways as we did. It’s not important in the larger scheme of things on Game of Thrones and I don’t see them coming back after this. Arya’s has been a very bumpy story these past couple seasons but I love her character enough I still want to follow her next journey back to Westeros. 
          So yeah this was a decent episode with some exceptional scenes, only a few storylines, and nothing that really dragged. Though the season still has a few places where it meanders (again, what’s going on in Dorne, and are we going to Sam or Jorah again?), the focus of these last few episodes has been great and I look forward to the next two. Cersei’s trial, Jamie, Arya perhaps, and Dany and Tyrion though will have to wait until the season finale. I’m too pumped for next week’s showdown between Jon and Ramsay!

Comments

Popular posts from this blog

The Strange History of the American Spoof Movie

Parody movies have been around for a lot longer than we tend to think of them. Even from the earliest days of Hollywood there were movies meant to satirize a particular subject or genre. In the silent era, Buster Keaton was responsible for a few. And in the early sound era, almost as soon as the monster pictures took off did you see comic versions of them -Abbott and Costello hosting a few. But parody movies tended to be subtle for most of cinema history, or parody came in conjunction with another goal of the comedy. It really wasn’t until the 1980s and 90s that it took off and became popularly understood. And there is perhaps a line to be drawn to the counterculture comedy explosion that began in the 1970s through avenues like  Saturday Night Live , which frequently parodied from even its earliest years popular movies and cultural properties of the time. But that is still a way’s back. To my generation though, ‘parody movie’ is perhaps a less known term than the more blunt ‘s...

A Stylish and Charmingly Reinvented David Copperfield

The Personal History, Adventures, Experience and Observation of David Copperfield the Younger of Blunderstone Rookery (Which He Never Meant to Publish on Any Account)  is the most important book Charles Dickens ever wrote. It is not the most famous or influential by any means (that would of course be A Christmas Carol ), but it is the book that is the purest expression of the authors’ style, identity, and worldview. It is his most personal work, semi-autobiographical in its story of the chronology from infancy to adulthood of a character who overcomes great loss and hardships to find a fulfilling life as a writer. To read David Copperfield  is to understand Dickens himself. Armando Iannucci knew this when he decided to make a new adaptation of the novel for a twenty-first century audience. He also knew that Dickens adaptations are ubiquitous at this point. Films are a bit rarer, but every few years a new television adaptation rears its head to keep the authors’ unique world an...

Notes on the Title Cards of The Lord of the Rings

It might be sacrilege for one who both considers The Lord of the Rings  trilogy to be one of the greatest triumphs of cinema and has been an avid lover of the films since adolescence, to declare that the original theatrical cuts of the films are better than the much beloved extended editions. Easily it’s my most controversial opinion regarding these movies. Don’t get me wrong, I do like the extended editions quite a lot, especially as someone who just enjoys spending time in that universe. They flesh it out more, add extra flavour, and in increasing the length by about an hour really emphasize the epic quality of these films. But I find that the original cuts are generally more cleanly paced, more seamlessly edited, and much more accessible to audiences. All the stuff there is to love about The Lord of the Rings  is there in the original versions, the plethora of new and extended scenes merely add to that for fans. And of those, they fall into three camps for me: 1....