Two Weddings

This week was the big one. Many of the most acclaimed and popular series, whether from the third golden age of television or an earlier era, have that defining episode that takes the show from a hit to legendary status. For Game of Thrones, that episode was season three, episode nine: The Rains of Castamere. Kaelme, a classmate and Scholars of the Throne blogger, pointed out the level of violence and gore in this episode. Watching it a second time though, I was surprised that it wasn’t as graphic as I had remembered. Much of the gore that is part of this scene has more to do with sound. There are other scenes in this series that are far more bloody in visual terms. Some of them are yet to come, and to my fellow scholars I say just wait. Season four includes some imagery that you will never forget despite trying very hard to do so.

The gore shown in this scene mostly consists of blood gushing from Talisa’s abdomen as well as the double dose of throat slitting in the episode’s final seconds. Almost all of the remaining gore is accomplished by sound. The scene just feels more horrifying and disgusting than anything shown in the series before due to the number of likable characters that are killed off. Remember, we didn’t actually see Eddard’s head get chopped off. The audience is not spared Catelyn’s final moments in a similar manner. It is also interesting, and disturbing, that the series chose to be so modest about Eddard’s death (aside from showing us his severed head in the next episode), but goes to great lengths to make sure that violence against women in this scene is shown in the most graphic manner possible. I’m torn as to whether this is a negative aspect of the show or not. It is a good thing for any show to highlight that women can be and are victims of abuse and violence. This is a problem in the real world and should be addressed in popular culture. The concern is whether depictions such as in the Red Wedding ultimately serve to spread awareness of the issue or instead desensitize viewers to it.

This time around I also was disturbed by Catelyn’s rash, emotional and maybe even believable but still horrifying decision to kill Lord Frey’s young wife. It seemed pointless to do that when Robb was already dead and Catelyn would soon be. I guess we’re supposed to chalk it up as reactionary to an unfathomable level of anguish on Catelyn’s part, but the poor girl was victimized by Lord Frey just as everyone else in the room had been at one time or another. I also interpreted this as another example of how the Starks’ talk of nobility is quite often hot air that they do not live up to. Catelyn’s final act of retaliation was futile and directed at an individual who was powerless to do anything to prevent the massacre.

Game Of Thrones Michelle Fairley as Catelyn Stark; Kelly Ford as Joyeuse Erenford HBO

The “Red Wedding” may be the series’ most talked about episode, but I prefer the wedding in the previous episode, Second Sons, in which Tyrion weds Sansa. For all of Peter Dinlage’s much deserved acclaim and multiple Emmy wins, this is the episode that highlights best of all why he is one of the most popular (if not the most popular) character on the show. Dinklage’s performance is perfect, as is how his character is written during this event.

There is amazing complexity going on here, as you do get the sense that on some level, Tyrion would like to bed Sansa after the wedding. But he is also the most noble of the Lannisters and does not want to be like Joffrey. His nephew believes he has the power to get sex from anyone and that his high standing excuses the need for consent. For Joffrey, sex is about power over others, which is a mindset of a rapist. Tyrion does not take pleasure in that kind of act, nor is he power hungry. Even though Tywin encourages him to rape Sansa, if necessary, so a Lannister baby can be put in her as soon as possible, Tyrion’s nobility and personal views about sex will not allow him to do so.

I’ve always gotten the impression that Tyrion experiences sex not as a way to gain power over others, but rather to realize and experience the power within himself. He seems to recognize that potential in his partners too. Rape takes away that power and degrades sexuality. Tyrion rightfully chooses not to treat Sansa that way.

The episode also demonstrates how, in a warped way, this new couple has more in common than either would like to believe. They are outsiders who are still imprisoned in some manner by everyone else at King’s Landing. The wedding is also an exercise in humiliation for them both. Tyrion is laughed at when he has to ask Sansa to lean down so he can wrap the cloak around her. Sansa feels humiliated because, as she expressed to Margaery in episode seven, Tyrion is too small and old for her.

The Rains of Castamere is a big moment for the series that saw many characters killed off. It was nominated for an Emmy for writing. It is still the series’ most talked about episode. Yet it is in many ways a blunt and shallow conclusion for many story arcs. Second Sons, however, moves the story forward and takes characters who will still be around several episodes later in a new direction. The increased tension between Joffrey and Tyrion, in particular, and the latter’s willingness to threaten the King, will lead to some interesting developments.

Both of these wedding episodes also demonstrate how Game of Thrones has flipped one tactic of television to make it dark and unique. Wedding episodes have long been an important element of almost every hit show. Usually, such episodes are advertised ahead of time with the promise of romance, hope and happiness. But this is Game of Thrones, so that all has to go out the window. Most shows would really be testing my patience if they had back to back wedding episodes, but the focus on character development here, as well as the unorthodox and ugly take on wedding ceremonies, makes for one of the more interesting elements of the TV Martinverse.