Game of Thrones Season 5, Episode 6 Recap

18 May 2015 | Author: | No comments yet »

Game of Thrones recap: season five, episode six – Unbent, Unbowed, Unbroken.

Hello! If you watch enough prestige television, you come to realize that the most traumatic thing that could possibly happen to a man is having to suffer the pain of a woman he knows getting raped.Arya (Maisie Williams) has been honing her corpse-washing skills for weeks at the House of Black and White in Braavos, and she’s dying (no pun intended) to know what they do with them afterward – though the cutaway to the walls filled with faces may offer a clue.

She asks her female co-washer what the deal is and gets attitude and a back story in return: The girl sought help from the faceless men after her stepmother tried to kill her with poison, the girl tells her, and she’s been in service to them ever since (a story that seems suspicious given the whole “I am no one” ethos at the B&W). You are in very good hands here because I have seen every episode of this show and, not to brag, but I have frequently had a pretty good handle on what’s going on. To exist as a woman on a cable drama is to understand that at some point you’re probably going to be raped by someone you know or in the presence of someone you know or as a punishment to someone you know, but it’s okay because in the end, it just gives you something to overcome and everyone knows that having something to overcome is the only way to prove that you are a strong woman.

I’ve also discussed where I think Sansa will go in the future of the show, something I see (perhaps due to wishful thinking) as a positive progression for the eldest Stark girl. She follows it up with, “Was that the truth or a lie?” That game continues as Arya’s awakened by Jaqen H’ghar (Tom Wlaschiha) himself, who interrogates her about her past and smacks her when he claims she’s lied – including when she says she hated the Hound. (RIP the Hound!) “The girl lies to me, to the many-faced god, to herself,” he says. “Does she truly want to be no one?” She does, at least, graduate to giving out drinks from the fountain of death when a young dying girl is brought in by her father. And I believe that, as hard as last night’s episode was to watch, it was still necessary, both to stay at least somewhat true to the books, but also to propel Sansa to become the woman she needs to be to fight back, and to strike back at all those who have harmed her. After administering the fatal drink and cleaning the body, Jaqen pronounces Arya “not ready to become no one… but she is ready to become someone else.” Tyrion (Peter Dinklage) and Jorah Mormont (Iain Glen) are still reeling from the Stone Men attack in Valyria, and Jorah’s still hiding the fact that he’s been touched by one. Yet while the nods to fairy stories’ most precious archetypes were all present and correct, it was the dark, old tales first collected by the Brothers Grimm that writer Bryan Cogman paid homage, to rather than the shiny, cleaned-up versions we read to children today.

Tyrion confesses to Jorah that he killed his father, and reveals that Jorah’s was killed in a mutiny beyond the Wall – a fact, apparently, unbeknownst to his son up until now. Thus the Waif’s (made-up) origin story was essentially Snow White’s story with the neat twist that, rather than die, our heroine called in the assassins and did for those who wished her harm. While Tyrion is exploring the implausible idea of Daenerys (Emilia Clarke) leading a successful revolution in King’s Landing, the two are captured by slavers who aim to sell Jorah and kill Tyrion for his genitalia (a good luck charm of some sort in Westeros?). The family is famed for their claim — unique among everyone else in Westeros, including the Lannisters and the Starks — as a house that has never been conquered. The episode was called “Unbowed, Unbent, Unbroken” but I think we can all agree that it should have been called “The Dwarf Lives Until We Find a Cock Merchant”.

The episode’s controversial moment was horrible, Robinson writes, ”because this rape scene undercuts all the agency that’s been growing in Sansa since the end of last season. Meanwhile, Tyrion called into question Jorah’s blind belief in his fairytale princess Dany, arguing, correctly, that just because her father was the old mad king, that doesn’t mean she’s fit to rule.

Bawdily bargaining for his life and Jorah’s, Tyrion gets them both a brief reprieve of being sent to Slaver’s Bay, where Jorah will demonstrate his legendary (if now geriatric) fighting skills. In the Targaryen dynasty that set the stage for the events of Game of Thrones, the Martells were only brought under the Iron Throne’s control by a political double-marriage, fortifying their reputation as a family that will not compromise, surrender, or be defeated. She was at the height of her power earlier in the episode when, stripped back down to her red-headed Tully roots, she told Myranda in no uncertain terms that Winterfell was her home and she would not be intimidated. The darkest fairytale of all, however, was saved for Sansa, who learnt in the most brutal way possible that all the strength she drew from being back in her own home was nothing in the face of Ramsay’s cruelty. Refusing to yield runs through this week’s episode, which forgoes bigger set pieces to focus on a few individual characters as they struggle to remain stoic.

But I’m mostly upset because the show seems to have very little interest in how Sansa might be feeling about the nightmarish way her wedding night proceeded. He, of course, immediately seems to throw Sansa (Sophie Turner) under the bus, informing Cersei of her upcoming nuptials to Ramsay Bolton (Iwan Rheon) and of Stannis (Stephen Dillane)’s march on Winterfell. “Let Stannis and Roose battle it out,” he advises, “and when they’re done, seize Winterfell from whichever thief survives.” He offers to join up the Knights of the Vale to aid in the takeover: “As I said, I live to serve.” But serve whom? Throughout its first season, the freshman Starz drama “Outlander” has repeatedly pulled focus from the actual victims of sexual assault to instead dig into how their male loved ones feel about the matter.

And just because she finds herself in a terrible predicament now doesn’t mean she won’t regain that agency (and then some) in the not-so-distant future. From the moment she agreed to Littlefinger’s plan, this evening was coming, as it came to many young women throughout history married off against their will for dynastic power.

Myrcella (Nell Tiger Free) seems pretty cozy in Dorne, where she’s smooching Trystane Martell (Toby Sebastian) in the palace gardens while Bronn (Jerome Flynn) and Jaime (Nikolaj Coster-Waldau) plot her rescue, sneaking through the palace looking seriously out of place in purloined Dornish yellow silks. Indeed it’s arguable that, terrible as it might seem, Sansa has been surprisingly lucky so far – she avoided marriage to Joffrey and in Tyrion, had a man more sensitive than his sharp-tongued exterior might suggest. The most maddening aspect of this shift in perspective is that it eliminates the idea that TV creatives don’t understand how damaging and horrifying the act of rape is, as might have been suggested by how frequently they resort to it as a plot device. It’s one thing to show the bitter, brutal reality of dynastic marriage but I, for one, would find it hard to stomach scenes of Ramsay’s torturing and breaking Sansa in the way he has previous sexual partners, and, of course, Theon.

From what I can gather, Arya came to this mysterious place in search of magical abilities to kill people and has instead found herself playing confusing games, being hit with a stick when she lies and preparing dead bodies for something that no one will explain to her. It’s a particularly upsetting development on “Game of Thrones,” in light of how much of season five has been given over to the agency and empowerment of its female characters, meaning that — as is often the case with this show — it’s two steps forward, one step back.

If they arrested all the gays in town, the Queen of Thorns points out, half the city would be empty. “I have no love for these fanatics,” shrugs the endlessly self-preserving Cersei, “but what can a Queen Mother do?” Mostly, what she can do is smirk to herself at the Sparrows’ trial of Loras (Finn Jones). “Do you deny the charges against you?” thunders the High Sparrow (Jonathan Pryce). “Fornication? And while these reviews are intended to view the show in complete relief from the books its based on, it’s still worth noting that Sansa’s fate isn’t something that’s been ported over wholesale from the books.

They handled it well tonight, telling a gothic tale of innocence sacrificed, which at times recalled Angela Carter and Neil Jordan’s dark and haunting The Company of Wolves, and hinted perfectly at horrors to come, but they must be careful not to tip from there to gratuitous violence for its own sake. Buggery?” Loras does, but unfortunately his former squire and lover has turned against him, offering not only that they slept together but that Queen Margaery (Natalie Dormer) saw it and thought it was no big thing. While the plots may follow roughly the same trajectory as another, completely unrelated character’s arc, this was not something that had to be implemented by David Benioff and D.B. Offering a detailed birthmark description as evidence, he gets both Loras and the Queen thrown in jail, while young King Tommen (Dean-Charles Chapman) looks quietly confused. On the strength of his testimony, both Tyrell children are seized and imprisoned, with Margaery finally losing her cool and screaming through the halls as she is taken away.

This was a choice and the choice was to marry off a teenage girl, rape her, and not even have the dignity to care primarily about her feelings about her fate. To her credit, Sansa tells her to get out: “This is my home, and you can’t frighten me.” Still, she’s got to be quivering a bit under those furs as Theon (Alfie Allen) gives her away to Ramsay; back in the bedroom after the chilly godswood ceremony, the groom insists his manservant stay to watch: “You’ve known Sansa since she was a girl; now watch her become a woman.” For once, the show is kinder to us than Ramsay is to Theon, and doesn’t make us watch. The Sand Snakes, renowned fighters, take on two swordsman, one of whom only has one hand, and can’t manage to defeat them before they’re all taken into Dornish custody for trying to abscond with Princess Myrcella. This blog has frequently touched on this show’s mishandling of Loras’s character, but I felt Finn Jones made the most of his brief scene this week, giving us a sense of the charisma which drew Renly to him, and making me wish that they’d done more than use him as slightly clumsy comic relief in the past. As for his sister – Natalie Dormer has already played one doomed queen to good affect so is pretty adept at heartbreaking attempts to save her life: the moment when she stopped saying, “I am the Queen,” and abandoned her tattered dignity to simply cry, “Tommen, Tommen!” at her ineffectual young husband was beautifully done.

No matter how brutal it was—and it was, very—it was never presented as titillating (something other scenes, including Dany’s can be accused of) or gratuitous. But even Olenna Tyrell might bow to the intricate, strategic web woven by Littlefinger, whose plan is more far-reaching and complicated than it first appeared. Sure, rape can be an overused plot device when it comes to placing women in terrible situations, but I don’t think this qualifies, especially since up to this point it’s been a man suffering the worst of Ramsay’s horrors.

While the scenes in the North – from the Wall to Winterfell have had a frozen, almost terrifying intensity this season – Dorne still seems slightly incidental to the plot. The character who had shown the most growth and potential for becoming her own woman, even earlier in this episode standing up to Myranda as she tried to intimidate her about Ramsay’s sinister sexual habits, is broken down in a matter of minutes, then not even given enough agency to suffer her own assault.

I’d like more of the world-weary Doran and his faithful manservant Areo Hotah – their quiet calm is a welcome respite in a land seeming entirely populated by tempestuous eye-flashing, hair-tossing stereotypes. One of the things Arya’s apparently being taught in this dismal place is how to be a good liar, and she really impresses her face-changing mentor when she persuades a dying girl that she’ll get better if she drinks out of a fountain. The Jorah and Tyrion Best Friends Tour continues to march through the countryside and their conversational topics range from “People We Love Who Have Died” to “Dany As Queen: Yes or No” before they are set upon by the crew of a nearby slaver ship who’d come to land for water. Other than a shot of Ramsay ripping Sansa’s dress open, we don’t see her body during the rape: just her face, and then Theon’s contracting in agony and fear and horrible sympathy. Littlefinger soothes Cersei outrage with a simple promise: Let Stannis Baratheon and Roose Bolton slaughter each other in the oncoming battle of ice, and he will send in his Vale knights to clean up the mess.

Tyrion’s quick thinking manages to spare the lives of them both, as well as the livelihood of his penis, as apparently dwarf penis is a hot commodity on the black market. Personally I felt that there was more interesting tension in the brief moment when Areo persuaded Jaime to drop his weapon than in the entire preceding fight. This harmless bit of deception earns Arya the right to see what’s been going on with all the dead bodies and the answer to that question explains everything. What she and Theon–and yes, there are two victims, though of very different crimes, in this scene–feel about what’s happening is what’s important.

It’s a bold endgame, and — presuming Littlefinger had a hand in his employee Olyvar’s damning testimony of the Tyrell family — an extremely complicated one. It’s impossible to tell who’s getting played whenever Littlefinger is doing his dirty business, but it does make me think that he missed his calling as a Faceless Man.

By my count he’s now attempting a triple cross (quadruple if you count Sansa) that, if it works, will presumably leave him Lord of Most Things and Master to None. There’s been much talk of his former ward, Sansa Stark, going “dark” this season — and after last week’s unfortunate trip to Winterfell’s dog pound, it seemed like Ramsay’s former flame Myranda was only there to rattle Sansa’s cage. For me at least, it’s about Sansa becoming something far more than the girl she was long ago when she first left Winterfell, starry-eyed and dreaming. Her experiences have given her confidence; where once she was content to marry Joffrey and become a Lannister, Sansa is now hellbent on retaining her identity as a northerner. One floored Trystane Martell (clearly a lover, not a fighter), one Sand Snake attack, which could be termed semi-successful given one of them got away with Mycella, Arya Stark’s ongoing tuition in the Game of Many Faces and the rape of Sansa Stark by her new husband Ramsay.

Robinson also suggests that Sansa, Theon, Podrick and Brienne will ”band together to take down Ramsay over the next few episodes” now that Theon’s been smacked out of his “zombie/Reek fugue”. I think that’s pretty far-fetched as a book-reader (ok, there is actually zero percent chance this happens.) But I do think it’s an important moment for Theon as a character, and for the two of them together.

She’s a funny lady but all the sharp verbal jabs in the world can’t give you the upper hand against Cersei Lannister, who informs Don that there will be a holy inquest, which quickly turns into a holy mess for House Tyrell. Loras is found guilty of, well, the word they used was “buggery” and Margaery, the goddamned QUEEN for crying out loud, is hauled off for perjury.

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Finding the ‘Joy’ in Jennifer Lawrence

20 Jan 2016 | Author: | No comments yet »

‘Joy’ review: Jennifer Lawrence cleans up in enjoyable biopic.

Writer-director David O. Their latest collaboration — following in the footsteps of Silver Linings Playbook and American Hustle — is a biographical picture about the life and times of Joy Mangano.Jennifer Lawrence groans when she’s asked about singing the classic Nancy and Frank Sinatra duet Something Stupid with co-star Edgar Ramirez in her new film Joy. “David [O Russell, the movie’s director] texted me last night to ask if he could put it on the soundtrack and this is what I texted him back,” the actor says as she digs around for her mobile phone and reads out her response verbatim. “‘David, no!!!’ and it is three exclamation marks.In a very abbreviated nutshell, that actually happened to Joy Mangano, 59, the fabulously successful Long Island entrepreneur/inventor and HSN pitchwoman whose rags-to-riches journey started with the invention of a mop.

Russell has made three kinds of movies: offbeat romances (“Flirting With Disaster”), surreal comedies (“I Heart Huckabees”) and dramas about dysfunctional yet appealing families (“The Fighter”). In real life, Mangano is the Long Island housewife and inventor who became famous and eventually rich after bouts of near-bankruptcy, by creating and marketing her Miracle Mop. Out Boxing Day in Australia, the film stars Jennifer Lawrence in the fictionalised life story of Joy Mangano, a single mum from Long Island who made her fortune selling a mop. On Christmas Day, “Joy,” a movie inspired by her struggles as a divorced, single mother turned mogul by way of that mop, will open at movie theaters across America.

This was before she hooked up with the giant Home Shopping Network, becoming their most effective pitch person and eventually selling her parent company, Ingenious Designs, to HSN. Gross, I can’t listen to it; I have to go to bed.’ And I said yes, but it’s a groaning, reluctant yes.” It’s the kind of unfiltered moment you come to expect when interviewing Lawrence, who may now be one of the most famous actors on the planet but still blurts out whatever she’s thinking with such self-deprecating charm it’s impossible not to be, well, charmed.

Jennifer Lawrence’s performance as Miracle Mop inventor and QVC pitchwoman Joy Mangano glues the movie together, but it threatens to unravel at any time. Lawrence, 25, looks genuinely surprised when complimented about how unchanged she seems from our earlier interviews before the fame and Oscars. “But there would be no reason to change,” she says with a shrug. “I just have a job and I love my job. In the film, Lawrence’s Mangano is a colourful character, a single mom with a unique relationship and friendship with her ex-husband, and an enterprising woman who parlays her creativity into an incredibly successful business.

Mom (Virginia Madsen) stays in her bedroom and watches soap operas, until she falls for a Haitian plumber (Jimmy Jean-Louis) who fixes a hole in her bedroom floor. She landed minor roles on TV shows such as Monk, Cold Case and Medium before her 2010 indie film Winter’s Bone led to her becoming the second youngest best actress Oscar nominee in history. This is true even when the film tilts off its rocker with a bit of Russell-esque madness built into the screenplay, and with the director failing to always keep the energy going. That resulted in not only a string of critically acclaimed films, an Academy Award and another Oscar nomination, but also her very own mega-franchise as Katniss Everdeen in The Hunger Games.

Joy’s grandma (endearing Diane Ladd) delivers messages of empowerment and smooths over constant fights, but she’s opposed by the money-grubbing rich woman (Isabella Rossellini) who dates Joy’s dad and sends negative messages about her. Lawrence’s endearing habit of speaking her mind resulted in a controversial essay she penned on Lena Dunham’s website about her discovery during the Sony hacks that she was being paid less “than the lucky people with dicks” on her recent films, including American Hustle. “I completely understand when people say actors shouldn’t talk about politics and things they don’t know about, but this was my gender at stake and it was being threatened with unfairness and I thought, ‘What is the point of having this voice if it’s not to speak out for myself and for everyone else who can’t?’,” she says unapologetically.

Upon learning that Lawrence would be playing her mom, Miranne says, “I braced myself so I wouldn’t fall on the floor.” As for Mangano, she says Lawrence playing her “made me feel old, number one. Lawrence hangs out with a posse of celebrity girlfriends, including Amy Schumer and singer Adele, but the reason is simple. “The friendship gets expedited a lot when you meet someone you know beyond a shadow of a doubt has no agenda,” she says. Draining her savings and taking out loans, she started off small, selling her mops to local boat owners. “She persuaded QVC to take a thousand, but sales were poor and they tried to send them back,” says Mason. “She suggested letting her demonstrate it herself, and the channel agreed.” Sales skyrocketed and Mangano’s career as a QVC pitch woman was launched. That’s so amazing there aren’t even words.” Mangano and her three children didn’t view “Joy” until the Dec. 13 premiere in Manhattan, though a family outing to see “Trainwreck” included a trailer.

This is, after all, the self-confessed reality-show junkie who confessed in a recent Vogue interview that on the night of her 25th birthday party, friends surprised her with a visit from reality queen Kris Jenner, who presented her with a cake inscribed, ‘Happy Birthday, you piece of shit!’ The only time she seems tongue-tied is when asked about her relationship status, after a four-year stint with X-Men: First Class co-star Nicholas Hoult and a year with Coldplay singer Chris Martin before their breakup earlier this year. “Next!” Lawrence says in a no-nonsense voice, pausing as she decides if she’ll continue that thought. For one thing, Mangano’s childhood is not that interesting for a film, despite some flashbacks to her as a youngster (when she is played by 10-year-old Isabella Cramp, who does actually look like we imagine Lawrence could have at the same age). A satire on the acquisitiveness of the public? (Here, QVC foists unnecessary things on gullible viewers who could better save their money.) Russell doesn’t seem to know. And, of course, the grave ending would be a lie: Mangano is very much alive at the age of 59, still inventing, still pitching products, still a superstar of the American home shopping universe. There’s the Clothes It All luggage system, essentially a rolling suitcase with a removable garment bag, and the Super Chic vacuum, which releases fragrance into the air.

If I even casually say something to a reporter, that quote haunts me for the rest of my life,” she says, “so I am never, ever, ever talking about boys again!” I don’t think any of us brought enough tissues!” A good portion of the film was shot last winter in Boston, and though the always-busy Mangano was twice scheduled to visit the set, snowstorms made travel impossible. He has mixed genres successfully before, as in the anti-war comedy-drama “Three Kings,” but the blender often grinds to a halt in “Joy.” Just as we’re getting used to the realism of Mangano’s fight for respect, Russell photographs Rossellini as if she were a gargoyle.

One of her creations, the thin and velvet-covered Huggable Hanger, remains a bestseller for HSN, at more than 300 million sold, and was endorsed by Oprah Winfrey. Yet in “Silver Linings Playbook,” Cooper, De Niro and Russell all supported her with fine work; here they lay back and make the movie a one-ring circus where she has to be acrobat, bareback rider and clown.

He had a presence all of his own.” At one point, Miranne says, “Jennifer grabbed Joy’s hand and said to David, ‘Look at the nails, a French manicure.’ ” (That manicure is a Mangano signature.) Lawrence revealed that in studying for her part as Joy, she watched recordings of the inventor’s early pitches on HSN, including ones for “Huggable Hangers” and found her so compelling that she wanted to buy them on the spot. There is something special when creative people get together.” Mangano’s take on Lawrence? “She’s beyond her years, so brilliant, hysterical and so talented.

Critically, Russell’s sense of wonder and beauty turns elegiac moments — especially when Joy Mangano becomes fully realized as a woman and as a business executive — into scenes of great beauty. Lawrence recently said on “The Tonight Show With Jimmy Fallon” that the movie was “half Joy Mangano’s story and half [Russell’s] imagination and other powerful, strong women who inspired him.” The director mined much of his Mangano material by phone.

The cast includes Edgar Ramirez, Diane Ladd, Virginia Madsen, Isabella Rossellini, Susan Lucci (in a mock TV soap opera that gives Joy some of its silliness) and even Melissa Rivers as her late mother Joan Rivers. There’s no situation Joy cannot overcome or circumvent.” At a Newsday photo shoot at Mangano’s luxurious but serene 42,000-square-foot mansion on 11 acres in St. As for parting advice for the ambitious? “If this movie inspires even just one more person to believe in themselves and to go after their dreams, then it’s made a very special impact in this world.

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