It's a brutal scene, and it wouldn't surprise me if it was too strong for some viewers. But is it gratuitous? I honestly can't decide, but I'm inclined to think it's not. It stops thankfully short of where it could have gone: we cut away before we learn exactly what Joffrey makes Ros do with that painful looking—and threateningly phallic—sceptre.
And though it requires Dee to be fully nude, the scene is not, and is not meant to be, titillating: the choice of the sceptre as the weapon makes it painfully clear that this scene is—like all rapes—about power , not sex. Abuse of power is obviously one of the main themes of Game of Thrones, and this season has made it clear that the abuse of women, specifically, is going to be a central concern. In this scene—as in the one between Theon [Alfie Allen] and the Captain's daughter [Amy Dawson] in " The Night Lands "—the nudity is about as non-erotic as it is possible for nudity to be, and just serves to emphasize the vulnerability and powerlessness of the women and the absolute monstrosity of the men involved.
Finally, since this episode is largely about how all these political machinations destroy innocent lives, it's worth noting here that Tyrion deserves much of the blame for sending these women to Joffrey in the first place: knowing his nephew, he should have known something like this was likely to happen.
He's as guilty as anyone of sacrificing innocent pawns in the larger game. What sets Joffrey off in the first place is the victory Robb Stark Richard Madden scores over one of the Lannister forces, setting upon them in the dead of night.
One of the main obsessions of Game of Thrones is that every action has consequences, and the beatings Sansa and Daisy take are just distant ripples on the waters Robb is troubling. He gets a lecture in the more immediate consequences of his actions from a frontline nurse, Talisa Oona Chaplin , who chastises him for all the death and destruction he leaves in his wake, and points out that the boy whose foot she just had to saw off was not his enemy.
As I said, this episode is concerned with all the innocent victims who suffer because these kings are clashing—Robb's sneak attack is first seen from the point-of-view of some bumbling, farting Lannister guards, for example—and Talisa strikes a nerve with Robb because he has never been comfortable with the cost of his victories. Robb is too much his father's son to enjoy warfare, or to heed the counsel of men like Roose Bolton Michael McElhatton , who advise him to become more like his enemies in order to win.
Robb wants to fight an honorable war, but is such a thing possible? Even his cause is uncertain: Robb's sole goal is to depose Joffrey—and I think we can all agree that that needs to happen—but Talisa points out that Robb has no plan beyond that. Robb doesn't want to sit the Iron Throne, and he doesn't know who will or should, as long as he can get revenge for his father's death.
Robb has plunged the entire kingdom into war, and thousands are dying, and little thought has gone into what will happen if he wins. Robb is an honorable man, but his actions may ultimately cause more bloodshed and misery than any mad king could manage. Torture is very much the order of the day in "Garden of Bones," as Arya Maisie Williams discovers upon her arrival at Harrenhal, the decrepit castle currently serving as a Lannister stronghold.
Harrenhal, as we learned from Baelish last episode, is "cursed," and it certainly seems to ooze evil from its ruined walls. Lannister thugs have captured Arya Maisie Williams and the other refugees from Yoren's recruiting trip, as well as a great number of peasants, and are torturing them for information that none of them seem to have.
War and power, clearly, do not bring out the best in men: the Lannister men have devised a unique form of torture: insert rat in bucket, place bucket against belly, and apply heat.
Which begs the question, Who the fuck thinks of something like that? There is no logic to this process, no strategic purpose, and very little point: just as with Joffrey, the real purpose is pure sadism, and it is completely arbitrary. There's a lovely, brief scene in which another boy has told Hot Pie Ben Hawkey that the key to avoid being selected for torture is to stare at Polliver Andy Pellegher when he comes to choose the next victim.
Hot Pie believes this, and stares intently, only to see the boy who gave him this advice be chosen. There is no key to survival: it is another example of how the horrors of wars choose their victims indiscriminately.
Survival is, as much as anything, a matter of luck, and here luck comes in the surprising form of Tywin Lannister [Charles Dance].
Tywin is evil, no doubt, but he is not insane; there is, one suspects, always a larger purpose to his crimes, and he does not commit sadistic acts for sheer pleasure. In this company that practically makes him a honorable man; he puts an end to the torture and selects Arya—who he immediately recognizes as a girl—to be his personal cupbearer.
Arya is an innocent victim of this conflict, and I fear it may be heartbreaking to see what she becomes as a result. As always, Maisie Williams is fantastic in this role: Arya's spirit is unbroken, but she seems so much older now than she did last season, having seen so many horrors in such a short time.
Her life is always in danger now, but it is her soul that is really at peril, for more and more each episode she is driven by the thirst for revenge.
Taking her cue from the story Yoren told her last episode, she goes to sleep every night repeating, like a prayer, the names of those she hates: "Joffrey.
Ilyn Payn. The Hound. The Mountain…" The list keeps getting longer, and we can't help but wonder what darkness she'll be capable of when she gets the chance. The most explicit discussions of good and evil are happening in the camp of Stannis Baratheon Stephen Dillane. Cjvtgd - comment se procurer du cialis Hqzidv xdoddy. Nbacqu - where to buy ivermectin Mjzqpz rlvjfw.
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