Game of Thrones is filled with death, deception, depravity, the occasional act of decency, and dialogue acrobatics. Each week, we break them down. Let’s dive into Season 6 episode 5, “The Door.”
he North Remembers
Sansa’s scenes feel like the writers retrospectively apologizing for her Season 5
When she repeats “what do you think he did to me?” and doesn’t let Littlefinger wiggle out of hearing it (“the other things he did, ladies aren’t supposed to talk about those…I can still feel what he did in my body standing here”) is a marked pivot for how Game of Thrones deals with rape. After five seasons and change, it’s finally handled it with weight. This scene is a triumph for both Sansa’s character and for how Game of Thrones handles an issue it’s received a lot of criticism for in the past.
Sansa has evolved from prissy princess to hardened
When she lies to Jon about where she got the intelligence about The Blackfish and his army, she shows that, although she rejected Littlefinger, she’s absorbed his teachings more than she might admit. Sansa is a Stark through and through, but she’s also not afraid to get her hands dirty. At this point in the show, Sansa’s type of Stark is exactly the character needed most by the North, and she may yet be the one to lead her family to victory.
“My Dreams Are Different”
What is dead may never die, the Kingsmoot itself was too sudden and out of the blue to feel meaningful to
readers — but its aftermath is what truly matters. Yara and Theon look like they could very well be Tyrion and Varys’s ticket to getting out of the plot-suck that is Meereen, and thank the Drowned God for that. non book
A Girl goes to Braavos
Arya’s is the
But, on the other hand, it indulges in more fantasy clichés than Game of
Hodor’s story is what saves Bran’s part from becoming Fantasy 101 Cliche by anchoring it with emotion and a deeply human brand of tragedy. The “hold the door…Hodor” reveal is gutting, and it’s to Kristian Nairn’s credit that he makes a fairly one-note character’s plight so emotional. Isaac Hempstead-Wright wasn’t wrong when Hodor is the way he is because of “a catastrophe.” It connects to what Jaqen H’ghar tells Arya: “Does death only come for the wicked and leave the decent behind?”