Oathbreaker is a sharp, lean, nicely paced episode of Game of Thrones. It is one of those episodes where the characters are largely being placed for the future, but it is a solidly executed variation of that fundamental template. Pictures understand how small they led to the general landscape and will look fantastic in and of themselves until you think back on them.
Jon’s return from the deceased is handled with the same reverence that was spooky last week that his first resurrection received. I spent some piece of the picture — the component where he gasps and sits up, as though he is hyperventilating — wondering if he was going to have a heart attack from the shock of being living. (That would have been hilarious, but also quite lousy storytelling.)
But, nope. Jon is back from the dead, Davos is the greatest advisor he could maybe have, and Jon finishes “Oathbreaker” by stepping down from the Night’s Watch after hanging the guys who killed him. It is a surprisingly efficient hour for everybody’s favourite once dead Lord Commander, and it just continues to burnish the reputation of Jon, a character I’d written off as unsalvageable as lately as the beginning of season five. The best thing about Undead Jon is that he is totally conscious of how abnormal his dilemma is. It is quite strange when people tell him how strange it’s to see him walking around; he is more than happy to concur that, yep.
But he wastes no time in getting down to business. He reconnects with old friends to assure them he is not a god (they have already surmised this, based on dick jokes). The treasonous is executed by him. He is essentially prepared for whatever. And I’d like to give a shoutout here to Davos, one of my favourite characters from Game of Thrones’ reference novels, who I believe has consistently gotten a little short shrift on the show. This is partly because, in the novels, he mostly serves as a point of view character who functions as a window into the world, something the show of Stannis did not want. But on TV, just freed from the need to support Stannis, he is showing all over again advisor and what a great tactician he’s.
Varys has been one of the Game of Thrones’ greatest characters the show uses mainly as a secondary spice in whatever stew it is brewing up. Arched eyebrow and Conleth Hill’s reserved existence make the character just the kind of man you need in your side in the proceedings you decide to intrude on Westeros. Now that he is eventually ingratiated into the power structure of the kingdom of the preoccupied Daenerys, Varys can get down to the company of covertly understanding everything that is happening. And when we see Qyburn’s bribery of Varys’s former King’s Touchdown sources (a group of children), it just drives home how much more amusing Varys is at this kind of company.
The girl once called Arya Stark is at the centre of what might be the most powerful scene of the episode, a montage of her slow rise from Jaqen that is blind to just the sort of assassin has been trying to find.
On some degree, it is a training montage right out of a Rocky film, but that is ok. I’d like to single out Williams, who’s giving one of the greatest performances on TV right now, but is isolated in her storyline that she appears not likely to receive, say, awards nominations from it. No One goes from feeling totally dependent on looking like she might slaughter everybody in Westeros simply by visualizing it, and that is all on Williams. She is an extremely talented performer.
The consensus about watch game of thrones online season six has been that novel subscribers would have the advance knowledge to lord over those who only saw the TV show. And to a degree, that is accurate.
And this season has dug deep into the publications’ back story and subplots to find things that were new to accommodate. The Arya montage, which is a rough version of occasions in A Dance With Dragons (the fifth novel) suggests several ways the publications may continue to educate the show and allow it to be better. Scenes where they are finding their way, and the difference between scenes where Benioff and Weiss have the publications to lean on, is palpable. Talking of which…If you haven’t read the novels, publication spoilers (that are likely not show spoilers) are about to arrive. If you are interested in being unspoiled, please skip over the next section to Loser 1.
That’s, that would be the situation should don’t believe that the show was saving its first important character resurrection for Jon Snow, and might work Lady Stoneheart in afterwards. And if you believe that,
Spoilers around. It’s by no means clear what the time among the Dothraki of Dany will add to the storyline, aside from keeping her away from the Seven Kingdoms for another season. The performer who is frequently buoyed by powerful stuff, Emilia Clarke, looks somewhat disoriented, and the whole thing is flirting with irrelevance.
This is, needless to say, the eternal risk with Dany, the one important character who has no important links to anybody back in the Seven Kingdoms. Showed how hard it can be to accommodate her more internal narratives from the novels, and I worry we have headed in that way again without the publications to function as a guide. But that is a journey that mostly happens inside of her head. That makes it difficult to dramatize onscreen, and I expect we are not in for lots of scenes where Dany faces off with individuals, just to back down, just to have the last laugh Jorah and Daario and her dragons show up.
A little platoon of guys and Ned take on two members of the Kingsguard, who manage to fight off before the wounded Howland Reed leaps up and kill everyone but Ned and stabs at the last Kingsguard member in the back. It saves the life of Ned, but it is also completely minus the sort of honour Ned prides himself on having.
It is a gut-wrenching moment for Bran, who observes and understands the long-accepted story he is heard is finally only a narrative.
For a minute, it looks like Tommen might be standing to the High Sparrow, to save his mom and his queen. But the lad disarms with we understand the Mom’s love through our moms and discussion of the Seven.
Tommen is not an evil king, like his brother, but he is also not a very powerful one, which has enabled the Sparrows to run roughshod over his rule. It is all part of the continuous conversation over what makes for an excellent ruler of the show, and Tommen appears to reveal the pitfalls of not having a backbone. He might not be effective, but he is the only thing standing in the way of an actual governmental disaster, one considerably greater than the one the country is embroiled in now. This intriguing Mashable post has more on the issue.
Great news! Osha and Rickon are still lively and are part of the show. Terrible news! They must hang out with Ramsay Bolton and his group of killers and rapists. Additionally, the direwolf of Rickon is not alive.
The show could not be attempting to get us to despise him more if it’d had him reenact Weekend at Bernie’s with his dead father’s corpse.) Game of Thrones’ fight choreography looks to get just a little worse for reasons I am not totally clear on, with every season. The sword fight between the guys and the Kingsguard members of Ned is a good example of what I mean.
To begin with, it is edited all to hell, so it is completely unclear what is occurring. Sackheim keeps cutting back to wide shots to showcase the entire battle field, and they just make the activity more confounding, although this might be acceptable if it were attempting to mimic the madness of conflict. Does it begin to make sense just once the fight was reduced to some of the guys? In and of itself, this is not the end of the world. (It is definitely much less terrible as the garden sword fight in Dorne from season five.) But it’s emblematic, I believe, of Game of Thrones sometimes coasts on its reputation as it pertains to the technical facets of its development. It looks stunning, but it sometimes cuts corners on the matters that are little, because it trusts that corner cutting to be overlooked by us. Occasionally, it works, if the psychological impact is enough (as it was here). But it is seldom an encouraging signal.