Post by Deleted on Jun 20, 2016 11:48:24 GMT
Alyssa Rosenberg at the Washington Post:
Before I dig into any thematic analysis of “Battle of the Bastards,” I have to be honest with you all. I’m still trembling, even though this episode is over and I’m trying to get down to the work of writing something serious about an episode that was better than I expected, even if I had to fight my way through the gore of “Battle of the Bastards” like Jon Snow (Kit Harington) clawing through a pile of bodies to get to it. I’m sickened that I had to sit through another episode of Ramsay Bolton’s (Iwan Rheon) dogs turning a human being into meat. But mostly, I am relieved that Ramsay is dead, and still a little unbelieving that he’s gone and can never hurt Sansa Stark (Sophie Turner) — and by extension, us — ever again.
I know there are people who still hate the decision to pan to Theon Greyjoy’s (Alfie Allen) reaction during the first scene when Ramsay raped Sansa. But I think “Game of Thrones” has done a remarkable job of taking Sansa from unwitting villainess to compromised heroine, and making us identify so strongly with a survivor’s story.
Ramsay’s not wrong when he tells Sansa “You can’t kill me. I’m part of you now.” She uses his own hounds and his own tactics to destroy him so thoroughly that there would be nothing of him left to bury. But if Ramsay shaped Sansa, he never entirely managed to make her his creature. She was tortured and beaten and raped, but unlike Theon, she didn’t become someone else entirely. What it means to be Sansa Stark has changed. But Sansa has defined the terms of the change. When “Game of Thrones” comes to its conclusion, I suspect Sansa’s story will stand as one of the most powerful looks at a rape survivor and her experiences in a television era full of them.
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I know there are people who still hate the decision to pan to Theon Greyjoy’s (Alfie Allen) reaction during the first scene when Ramsay raped Sansa. But I think “Game of Thrones” has done a remarkable job of taking Sansa from unwitting villainess to compromised heroine, and making us identify so strongly with a survivor’s story.
Ramsay’s not wrong when he tells Sansa “You can’t kill me. I’m part of you now.” She uses his own hounds and his own tactics to destroy him so thoroughly that there would be nothing of him left to bury. But if Ramsay shaped Sansa, he never entirely managed to make her his creature. She was tortured and beaten and raped, but unlike Theon, she didn’t become someone else entirely. What it means to be Sansa Stark has changed. But Sansa has defined the terms of the change. When “Game of Thrones” comes to its conclusion, I suspect Sansa’s story will stand as one of the most powerful looks at a rape survivor and her experiences in a television era full of them.
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