GoT Season 4

Darkness, politics and religion unite to deliver a mushy picture.
Upside: The filming locations are fabulous. Gorgeous even.
The Dragon Queen and lady Sansa start developing into some notable characters. The dwarf Lannister pays his debts, or many of them. Finally, we get rid of prince Joffrey, whose thoughtless violence and evil for the sake of evil were as senseless as the evil in our everyday life. Someone finally sees the onslaught of the army of the (un)dead as the real threat to the lands of the living. Oh, and Jaime learns to fight again. The loyalty of Brienne has neither logic nor borders. And the little child Arya Stark slowly becomes a mature killer.
And then there is Ser Joras. Alongside Brienne and Podric, he is by far my favourite.
Almost forgot, and Winter is Much Closer in this season. With plenty of people persisting in denial.
Downside: The senseless and illogical evil in the forms of Joffrey, Cersey and Boltons does not allow for real heroism to appear, heroes being an indelible part of the genre. Maybe this is the new Epic Fantasy, just like Modernism, destroying the notion of hero and the values that notion carries. Maybe that is the point of the whole Game of Thrones – to destroy or to undermine the only fortress of truth that remains in the non-biblical world, the epic fantasy genre. If so, the series does the job admirably.
The main impression, except the mushiness and darkness, is still boredom.
AS Ursula K. Le Guion once wrote (in the Omelas story), pain is boring. Life has a multitude of facets, all different and exciting. Pain and death are so… uniform and similar. Even if the saying about the scrambled eggs goes the way it goes, none of that explains the hatching of a new chicken.
Thoughts after finally completing the season. In terms of light, the films get darker and darker, which is straining to the eye.
The season continues the discussion of the Machiavellian principles of what is right and wrong for rulers and those striving for power, complementing it with a very graphical way of describing the power of any system of beliefs, aka religion. The rise of the sparrows and the ways of the fire god as shown in the films are rather accurate depictions of a number of Church and Islamic practices. None of those endear such religions to the spectator.
The character of Cersei continues to encourage ruminations of what a sick motherly love has to do with horrible manipulation, and how far that could go. Apparently, very very far.
Also, appearances are called into question – Sam Tarley killing the white walker and then dismissed by those who know how things really are reminded me of the many ways this culture dismisses and ridicules those who do not fit in with their stereotypes.
On the whole, the leaning towards showing the female characters as the manipulative evil (except Littlefinger, of course, but he is feminised anyway) was a little annoying. But probably rather true, as the contemporary society still considers women in leadership positions as something deformed and inherently bad.
The whole problem of the undead army made me think of divide et impera, only without a Caesar to implement it. A very accurate picture of the most Western traditional societies of this day. Sadly.

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