TV REVIEW: Game of Thrones - The Mountain and the Viper

As with every season, the last two episodes of Game of Thrones have really picked up the pace as we head down the season's home strait and it brings us here, to a clash that has been touted right from the opening episode; Oberyn Martell versus Gregor Clegane. There are plenty of other things going on in The Mountain and the Viper though before we get to that titular confrontation. Built around alliances and adversaries, the episode features mainly scenes focused mainly on the relationships between two characters or, in the case of the Wall-set moments, two groups at war with each other. It's an excellent thematic device, strengthening the dynamics between characters or in some cases, shattering them completely. It also builds well into the foreboding of the episode as we see the uneasy status quo of this season break down even further.

The opening scenes in Molestown set up a brutal tone for what is to follow, a dingily-lit rout of the citizens within as well as some unfortunate Crows who happened to be breaking the rules that night. A lot of the scenes at the Wall this season have felt a lot like padding, as I've mentioned before, but here, it is all forward momentum as the wildlings close in. The fast pace and editing of the scene leaves a little to the imagination as deaths happen in a reflection in a well or shadows against the wall, but there is a handy bit of gore as blood drains through floorboards whilst Gilly looks on. It also is at pains to point out that Ygritte still isn't an out and out villain in a world full of murky grey morality, allowing Gilly and her child to live and advising them to keep quiet.

The following scenes with Missandei and Grey Worm's burgeoning relationship temper the violence a little and although it perhaps goes on a little longer than necessary, it's a nice continuation from the language lessons we saw earlier in the season. Game of Thrones often breaks off for little asides with minor characters often and it works well, reminding the audience of the larger world around the main players. However, it is the later scenes with Dany, in which she discovers Jorah's betrayal, that pack a more emotional wallop. Emilia Clarke has been given little to do but look imperious and bark orders. Here, she portrays Dany's betrayal brilliantly, all hurt and quiet fury. Iain Glen too brings a noble man to his knees with Jorah, desperation creeping into his otherwise measured and assured actions. It's a fleeting yet significant moment, scored beautifully as ever, fracturing one of the longest standing relationships in a matter of seconds.

In contrast, the scenes in the Vale saw a new alliance form, born out of the desire for mutual self-preservation. The swift dispatch of Lysa in the previous episode left Littlefinger in the frame as he had only just married and looked for all the world like the kind of power-hungry creep he is. The court scene saw him flounder in the face of questioning, leaving it to Sansa to rescue her protector and prove herself adept at playing the political game. It's a showcase for Sophie Turner from the moment she enters, allowing her to play up the tortured heroine side of Sansa's character whilst also demonstrating her knack for manipulation. By the end of the episode, she has not necessarily proven herself equal to Littlefinger's kingdom-spanning scheming, but she's certainly a worthy apprentice.

Alongside this, we also get Arya and the Hound finally getting to the Bloody Gate, only to discover that Arya's aunt is now dead and therefore a ransom is unlikely. Arya really does have the worst luck of pretty much anyone in the show and in a wonderful, maniacal giggle, Maisie Williams channels that frustration and disbelief brilliantly. It's a moment of black humour but one undercut with a tangible sense of tragedy. After everything, Arya finally broke a little. 

Speaking of being broken, Alfie Allen's performance as Reek has been sublime from the opening of this season. Here, Reek is asked to don his Theon armour again and take back Moat Cailin (appearing in the opening credits for the first time). His delivery as Theon is stilted and rehearsed, further demonstrating that he has become Reek and nothing else now. We also get to see Ramsay Snow legitimised by his father and become Ramsay Bolton. I'm going to go out on a limb and say that's probably not going to do anything to curb the violence.

As a Lannister, Jaime's allegiances within his family have shifted constantly. With his relationship with Cersei all but over, he has been bonding with Tyrion. Their jail-based conversations have been tinged with a melancholy understanding of each other's predicaments and Nikolaj Coster-Waldau and Peter Dinklage have an easy fraternal chemistry that makes them all the more enjoyable. The glimpse back to their childhood here finds Tyrion contemplating the easy ability with which beetles can be squashed by someone much larger. A neat bit of foreshadowing to the battle ahead, Dinklage performs this monologue with all the wit and passion he possesses. This season, he has been continually excellent as his character is backed further and further into a corner and he's still set to face his biggest obstacle yet, thanks to the mutually assured destruction of the fight between the Mountain and Oberyn.

And so we come to the titular battle, a showdown between one man out for vengeance and the killing machine responsible for the death of his sister, Ellia. The episode teases this clash out an extraordinary amount to the point where it is left with just five minutes or so of the episode in which to get its work done. Thankfully, that five minutes is probably among the best action sequences the show has ever produced. The second Oberyn twirls into the arena, the battle ceases to be about Tyrion's freedom and becomes all-consumed with Oberyn's chance for revenge. 

In a big nod to that other vengeance-fuelled character, Inigo Montoya, Oberyn circles his prey repeating "you raped her, you murdered her, you killed her children" over and over again. The fight scene was impressive for a number of reasons, not in the least Pedro Pascal's brilliant performance as Oberyn goes from cocksure hero to a bloody mess in mere minutes. The casting directors and the writers have been particularly mean with Oberyn, because Pascal's performance has been so good that everyone just fell in love with him, myself included. He was sassy, he took no crap and looked every bit the champion in the arena. Of course, everyone should have known not to get too attached.

The direction of the clash, assuredly handled by Alex Graves, captured the ebbs and flows of the fight well ensuring that, if you didn't know what was coming, you probably would never have guessed. The choreography was also stunning, using the characters to provide them with fighting styles that reflected on them and their upbringing; whereas the Mountain was all bluster and large blows, Oberyn's movements were fluid and fast. The manner of his death was particularly violent, yet another memorable moment to add to the collection that began for most people with Viserys' 'golden crown'. It's not like anyone really needed reminded after the sword-in-mouth death of Kurt, but King's Landing is just as bloody and just as brutal as ever.

With the next episode the ninth in the season (we all know what means), the stage is set for some Neill Marshall-directed carnage as the wildlings finally reach Castle Black.

- Becky

You can read Becky's review of The Laws of Gods and Men here.

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TV REVIEW: Game of Thrones - The Laws of Gods and Men

The first half of this fourth season of Game of Thrones has been decidedly wobbly. I realise I'm in the minority of this thinking, but I've found aspects of really quite dull, which is something I'd never thought I'd say about this show. Last week's episode felt like a step in the right direction with a nifty action sequence and finally some plot development regarding the men of the Night's Watch which had been dragged out beyond belief. Thankfully, The Laws of Gods and Men goes some way to prove that all of that set-up will be worth it come the rest of the season.

Part of the reason that this episode is so strong is because each scene feels connected thematically in a way that earlier episodes haven't. It's all about identity this week, taking on the roles you're supposed to have rather than the ones you necessarily want. Right from the opening scenes in Braavos (which was absolutely stunning and all credit to the visual artists for creating something so beautiful), characters are rebuilding themselves in the only ways that are open to them. For Davos, he has to remake himself as the loyal servant of the true king when faced with Mark Gatiss' deliciously arrogant Tycho Nestoris of the Iron Bank. Stannis also has to constantly re-iterate that he is the rightful King, not Tommen, despite everyone now pretty much ignoring him because he's got no cash. It's still a scene that feels largely like set-up, but the presence of Gatiss and Davos' impassioned speech elevated it to a worthy opening scene for what followed.

The return of Yara Greyjoy is a welcome one as she is one of the more enigmatic and interesting Westerosi female figures. With Theon now decidedly not himself and assuming the identity of Reek, their conflict is not only one of family loyalty, but of an internal, traumatic identity crisis. The violence and claustrophobic nature of the scene added to the turmoil, emphasising Reek's weakened presence in the face of both Ramsay and his more powerful sister. It also harks back to Theon and Yara's relationship; they barely know each other with Theon having been brought up in Winterfell whereas Ramsay has much more power over him. Alfie Allen's performance has been an under-appreciated one, but his journey from arrogant, misguided Theon to broken and tortured Reek has been exceptional. He shares a great chemistry with Iwan Rheon as Ramsay and the pair have gone on to form one of the most interesting partnerships of this season, in a weird Stockholm Syndrome-y way.

After checking in with Dany too (who is unwittingly becoming the tyrannical oppressor she's supposed to have overthrown), we return to King's Landing where things are about to kick off in a big way. It's time for Tyrion's trial and, casting our minds back to his time at the Eyrie, we all know that it's not likely to go well. The build-up to the trial feels like the preparation for Blackwater, albeit on a smaller scale because it feels doomed. Cersei has been steadily manipulating everyone around her and rigging it in her favour, one of the judges is Tywin and Tyrion wasn't exactly the kindest person to Joffrey when he was alive. In short, he's doomed.

Despite this, the trial manages to throw up a fair few shocks along the way, particularly when it comes to the witness testimonies. People like Pycelle and the odious Meryn Trant were always going to testify against Tyrion and take pleasure in doing so, but Varys and Shae? Two wholly different set of variables. Varys has always been somewhat of an ally  to Tyrion and his seeming betrayal of his friend is captured in that great moment when Varys says 'I never forgot a thing'. It's an excellent reminder that Varys has no allegiances, something which his earlier scene with Oberyn (Pedro Pascal once again knocking it out of the park with just a handful of lines).

Many people are rightly praising Peter Dinklage for this scene, particularly the blistering speech he gives at the end, but for me, its his reactions to Shae's testimony that deserve all the plaudits. Betrayal is felt with a simple look and that nuanced performance continues into that brilliant speech to finish it all off becoming the monster everyone thinks he is, if only for a minute. I also enjoyed the performances of those around him. Charles Dance is always on form as Tywin and I enjoy any scene in which Jaime tries to get one over on his father. Nikolaj Coster-Waldau handles Jaime's weakness, his family, so well and his performance captured that desperation and helplessness in the face of Tywin's manipulation. Jaime is another forced to face up to his identity, played by his father into accepting his role as son and heir to Casterly Rock, all in exchange for his brother.

Like many Game of Thrones episodes, this one was bookended by two fantastic scenes, but unlike the rest of this season, the filler has been excellent throughout. It feels less like playing for time now and more as if we're seeing actual narrative progression towards the back half of the season. 

- Becky

You can read Becky's review of the previous episode here.

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TV REVIEW: Game of Thrones - First of His Name

Opening with Tommen's coronation, First of His Name is another episode which ranges across Westeros and Meereen, but rather than check in with everyone they possibly can, we get several focused scenes with select characters. In King's Landing, we follow Cersei through various conversations as she attempts to secure the future for Tommen as well as checking with Oberyn about Myrcella. Arya and the Hound have another confrontation, this time about what kind of sword is required to kill a man whilst Brienne finds herself coaching Pod into doing something useful as her squire. Sansa and Littlefinger have arrived at the Eyrie, greeted by her mad cousin Robyn and her mad aunt Lysa who promptly marries Littlefinger and lets the entire castle in on their wedding night. Finally, Jon's troupe closes in on Craster's Keep to take down the mutineers.

The previous two episodes have had a fair few issues with them, perhaps the most obvious of which was pacing. Oathkeeper was seemingly various long exposition scenes sandwiched between two outstanding sequences to open and close the episode. First of His Name has a similar problem, but this time, the strongest scenes are threaded throughout the narrative, which boosts the pace somewhat. It still feels like certain scenes are in there just to remind audiences of characters or to pad out the story until the next Big Event, but there were three key moments in this episode where it felt like Game of Thrones had begun to rediscover its groove.

Tommen's coronation was a nicely sombre affair tinged with humour as Margaery continued to apply her claws to the latest Baratheon on the Iron Throne. Her conversation with Cersei, in which the two acknowledged their mutual goals and respective ambitions was particularly well done and both Natalie Dormer and Lena Headey rose to the challenge admirably. Margaery and Cersei really aren't too dissimilar and seeing them exchange euphemistic conversation whilst actively trying to undercut each other is a delight. It also acts as a useful reminder of the ways in which women learn to survive in Westeros that doesn't involve some sort of sexual violence as a catalyst. Margaery is ambitious and knows her family affords her a certain amount of privilege. She can also work her assets in a way that no doubt Cersei once did. Cersei on the other hand resorts to her role as a matriarchal figure to get things done, namely by ensuring that Tommen will be married to a strong ally.

Speaking of females surviving, one who has done remarkably well for herself is Sansa, who believes herself to be in a safe place when she arrives at the Eyrie, only to discover her aunt and her son are quite bonkers. Kate Dickie's performance was gloriously unpredictable, calm and inviting one minute then all wild stares and accusations the next. Praise should go too to Sophie Turner who has managed to turn what was once a wholly unsympathetic character to someone we actively fear. Granted, Joffrey helped this transition, but it it was galling to see Sansa get to what she thought was finally a safe place only to have the rug pulled from underneath her once more.

Of course the big reveal in this moment is that it was Littlefinger and Lysa behind the poisoning of Jon Arryn which kickstarted all of these events way back when. With the death of Jon Arryn, Littlefinger put himself in a position through which to provoke the antagonisms between the Lannisters and the Starks whilst ensuring that he can keep the situation to his advantage. So far, so good. Long have people said that Littlefinger is the most influential man in Westeros and this goes some way to prove that. When Lysa asks why he cares so much about Sansa, she assumes it is because he fancies her for himself, which is a fair assumption really as Sansa is supposed to look how Catelyn did at the age when Littlefinger fell in love with her). However, with Sansa in his keep and Lysa in his marriage bed, Littlefinger has access to two of the most important strongholds in Westeros, the impenetrable Eyrie and the last known remaining heir to Winterfell. 

Michelle MacLaren is once again on directing duties and produces another stunning episode. I particularly loved the framing of the final shot in Meereen with Dany stood on the balcony with her back to both the camera and Ser Jorah, watching over her as ever. It was a beautiful visualisation of their relationship and how the power dynamic has evolved and shifted since their first meeting at her wedding. Another admirable sequence was the climactic fight between Jon and Karl, lit hauntingly by the central fire and shot at a frenetic pace. Then, of course, there was that final cathartic shot of Longclaw bursting through Karl's mouth which has to be one of the best non-Joffrey deaths of the series so far. Erlack.

It is that final sequence, coupled with the scenes in the Eyrie, that elevated this episode from another substandard affair. After what felt like weeks of the Night's Watch discussing the mutineers, something finally got done and in a suitably brusque and brutal fashion. It was also surprisingly emotional when Bran looked on to see Jon, failing to get his attention before being convinced it was probably best he didn't talk to his brother. Like Arya arriving at the Twins just in time for the Red Wedding, it was heartbreaking to see the two brothers gets so close without actually meeting (though for the longer narrative, it was preferable that they didn't). I also loved the simple scene with Jon as he is reunited with Ghost. It's a small moment but it's not often you get people reunited with friends or family on this show. Let's savour it when it happens.

It was in the minor scenes that once again those little niggles showed. Whilst Brienne and Pod provided some welcome relief, Arya and the Hound appeared again to re-tread the same ground they've already gone over in at least three episodes; life is hard, Arya needs to harden up. Maisie Williams and Rory McCann are one of my favourite partnerships on the series, but I can't help feeling they're being overused. It was welcome to see Williams' water-dancing which was beautiful to watch and to hear her finally say her list in front of the Hound, but again it felt like the scene went on to long to get their relationship to a point we knew they were at. It's a toxic one that Arya would do well to get away from, but it's belabouring the point somewhat now.

An improvement on last week's episode, First of His Name is all in all a mixed affair, but it is saved by two sequences which work to further the plot rather than delay it, injecting some much needed danger into the proceedings. We're now halfway through the season when things, traditionally, start heating up so let's hope this ascent continues.

- Becky

You can read Becky's review of previous episode, Oathkeeper, here.

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TV REVIEW: Game of Thrones - Valar Dohaeris

To say that the third series of Emmy-award winning of Game of Thrones was eagerly anticipated is something of an understatement.The build-up has been mounting since the very last fade-to-black on the tenth episode of the second season. Fortunately, Valar Dohaeris does not disappoint.

Much like the show's amazing opening credit sequence, the first episode is a bit of whip-round of all the major players in Westeros and beyond as it stands at the moment. Some characters didn't appear (Arya and Jaime in particular were noticeable by their absence), but it served as an excellent reminder of the big conflicts currently raging across the Seven Kingdoms and the quiet yet significant maneovres of those beyond the Wall or across the Narrow Sea. It also starts to set up some of the bigger plot-lines for this instalment, particularly Jon (Kit Harington) and his infiltration of the Wildlings and Dany (Emilia Clarke) trip to Astapor to purchase the Unsullied.

As ever with Game of Thrones, the most shocking, dramatic and brilliant moments offer lie in the quieter scenes between two fierce characters and this episode was stacked with a wealth of them. Everyone loves a clash between everyone's favourite siblings and we get a deliciously spiteful scene between Tyrion (Peter Dinklage) and Cersei (Lena Headey), layered with subtext and dark humour. Humour is something the episode is not short of, with Bronn (Jerome Flynn) taking on a couple of Kingsguard (Ser Whosit of Who Cares) and over in Astapor, Dany, Jorah (Iain Glen) and some very diplomatic translation. Humour is never just frivolously used in Game of Thrones though, but another aspect of character development. It is often in the snide remarks and pointed barbs that betray a character's weakness or fuels their bravado. 

The humorous aspects also never distract from the more dramatic moments and we get plenty of those in this season opener. Forms of betrayal and redemption are something of  recurring themes in this episode; former Targaryen Kingsguard Barristan Selmy (Ian McElhinney) asks for forgiveness and pledges allegiance to Dany, Davos (Liam Cunningham) is forsaken by Lord Stannis in favour of Melisandre (Carice Van Houten) and Robb (Richard Madden) still hasn't forgiven Catelyn (Michelle Fairley) for letting the Kingslayer go. In a show as densely plotted as Game of Thrones, is a testament to the clarity of the writing that these themes can be explored across the different settings, whilst still maintaining enough individuality to stop them from becoming heavy-handed or repetitive. Scenes like the one between Tyrion and Tywin (Charles Dance) certainly help.

Casting has always been one of the show's strongest aspects, but when it comes to Tywin Lannister, I don't think anything has been more spot-on; Charles Dance is Tywin Lannister. Appearing in the first season tearing eldest son Jaime a new one whilst butchering a deer carcass was one of the best character introductions the series has produced and this scene, in which he unleashes his cold fury on Lannister black sheep Tyrion was every bit as powerful. It was a monologue delivered with pure venom, each word dripping with disdain and credit must also go to Dinklage for Tyrion's decline. From boldly standing up to his father to admitting defeat, each step backwards was written across Tyrion's scarred face. 

Daniel Minahan's direction is solid and unfussy, allowing the familiar characters to excel in these quieter scenes. As is the case for the first few episodes of the season, the action is thin on the ground but there is a welcome return for the dragons, filmed beautifully by Minahan's sweeping point-of-view shots. As always the locations are second-to-none, each completely different to the next. The first new major addition to the titles' map is Astapor and whilst we also see a welcome return to favourite locations like Dragonstone, King's Landing and north of the Wall. 

The aim is clear with Valar Dohaeris, to set the scene and bring everyone up to speed with Westeros and beyond. It's a great start to the season and I'm already looking forward to the characters that we've not yet seen.

- Becky

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TV REVIEW: Ripper Street - The Weight of the World

We, and by that I mean myself and the four others of you still watching it, have now arrived at Episode 5 of the BBC’s Ripper Street. And, having stuck with it from the beginning and genuinely enjoyed a good deal of the series, this week was a bit of a non-event, really.

It wasn’t so much that it came across as a filler episode, but more that I hadn’t the foggiest what was going on for the majority of it, and had run out of energy to try. So if, like me, you spent your Sunday evening shouting ‘but who is he? Since when was he talking to her? What’s he doing over there and WHY IS THERE A HORSE?’ here is a little summary of what actually did happen in 'The Weight of One Man's Heart'.

When a gang of robbers steal some valuable jewels, returning all but one blue sapphire, Inspector Reid is puzzled, convinced that something is not right. Meanwhile, Sergeant Drake has, somewhat inexplicably, fallen in love with Rose the prostitute. She in turn simply wants to be an actress, and would rather like someone to find the cash to help her to do that, thank you very much. Naturally, given his condition, Drake wishes to help, but is saddened, however by the knowledge that he is not ‘a man of means’. The sudden re-appearance, then, of one of his Colonels in the army, complete with revenge plot to steal rather a lot of money, naturally causes him to question his true loyalties, put his head into a bucket of cold water and generally have something of a personal crisis.

All good thoughts, or at least near enough. Matthew Macfadyen takes something of a back seat in this episode, looking particularly brooding and intense at the station whilst his right-hand man wanders around the East End questioning his life choices. Ordinarily, this would be a mistake, given that his character is the strongest in the show by some margin. Jerome Flynn, however, gives the pest performance of the series so far, with his conflicted Bennet Drake just about saving what feels like an over-rushed and under-thought plotline. Iain Glen is suitably tortured as the ex-army villain, whilst Adam Rothenberg is delightfully cocksure and quick witted as ever as Captain Jackson, even appearing relatively sweet at choice moments. No sign of Mrs Reid, and very little of Long Susan, which gave Charlene McKenna’s Rose centre stage in the somewhat limited female character stakes.

The production values, score, and performances, then, remained as strong as ever. What let this episode down was its plot. It wasn’t believable, and felt thrown together and badly thought out. Without the occurrence of a murder, Reid and Co had little to do, leaving the balance of the show hanging by a thread not strong enough to carry it.

And I’m still not entirely sure what the horse was all about. 

-Jen

You can read more of Jen's writing here: https://memyselfandtheothers.wordpress.com/

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