Review: Game of Thrones: Season 3, Episode 7 – The Bear and the Maiden Fair

(Spoilers!)

George R. R. Martin’s script shines wonderfully this week in an episode that cleverly balances both style and substance in ritualistic character development. Our favourite inhabitants of the seven kingdoms, be they lovers, friends, family or enemies (and this is Game of Thrones so a combination of all four is likely), all go from power struggles to pairings in the most intimate and personal nature.

Jon Snow and Ygritte continue to travel on the green grass side of The Wall amidst beautiful scenery in their quest to Castle Black. But is the grass always greener on the other side? Their playful, romantic banter appears sweet at first, as does Ygritte’s countryside naivety, believing a windmill to be some sort of architectural palace. However, a few warning words from their Wildling companions (“You won’t love him so much when you find out what he really is...”) and here arrives the first sign of trouble in paradise. Jon admits to Ygritte his belief that the Wildlings will never succeed in taking the North - a fair assumption as they have already failed six times in the past. Naturally she disagrees but raises the point that no matter if they die, or who they die for, they’re alive now, and both proceed to passionately kiss. 

Speaking of passion, Robb Stark and his wife Talisa share an intimate, nudey hang out as they stop over night, during their journey to Walder Frey’s keep for the Edmure Tully wedding. This is the longest both have been on screen for quite some time, reminding us of the chemistry and love they share for one another. We also learn that planning a war isn't easy at the best of times, let alone when your spouse is lying naked on a bed declaring she’s pregnant. Although Robb takes a while to catch on, it’s a touching sequence, one that exudes almost too much positivity and has myself in fear of the Game of Thrones 'law'. It never ends well for those who experience true love and happiness...

Speaking of pregnancy, Sansa shares her concerns with Margaery Tyrell over the logistics of conceiving a child with her soon-to-be husband, Tyrion. As both converse we get a true sense of Sansa’s naivety and Margaery’s contrasting experience, which she “learnt” from her mother – another hint alluding to how Margaery really is. It's a subtle but brilliant piece of characterisation. 

On the other side of King's Landing, Tyrion and Bron are having a similar discussion, only Tyrion’s concern is of a more ethical one – having to marry Sansa but wanting to stay with Shae. Bron’s answer? “Wed one, bed the other”, but true to Shae’s strong willed sensibility she is understandably having none of it. Despite Tyrion’s cooperation with the arranged marriage as “duty, not desire”, he still faces losing his beloved. 

If only there was a living example to deter the above from marriage and conception... enter King Joffrey. Tywin pays his beloved Grandson a visit to recount the recent council meetings, resulting in a thoroughly enjoyable sequence. Charles Dance is, as ever, brilliantly exuding dominance as his character and as an actor. It's a power struggle which really only has one true winner. Aided by the clever use of camera angles, Tywin looms over Joffrey in a manner which screams “...you little shit...”, as Joffrey coils within the throne.  He eases the King’s worries over dragon rumours, believing them to be mere curiosities and nothing to fear - although perhaps they should. As Danaerys continues her quest to Westeros, saving slaves along the way, she visits Slavers Bay in a bid to free the Yunkai. Her dragons, continually looking impressive thanks to the special effects team, are proving to be quite the bargaining technique.

Speaking of fear – I am sure many men this week squirmed in their seats whilst watching Theon Greyjoy. To some, the torture story arc is becoming a bit of a tired nuisance. Agreeably it is slightly annoying that nothing has been totally explained, but Iwan Rheon plays the tormentor so brilliantly – it remains a thrill to watch. Theon is obviously traumatised from the whole experience so in a way, we can forgive him for getting involved with the two vampiristic, naked ladies obviously planted to toy with him. Either that or no matter how traumatised he is, he’s still a bit of a sex pest.  Regardless it’s clear that from the off, it will not end well. Sure enough Rheon’s character soon intervenes... with a blade. “I’m not killing you, just making a few alterations” he exclaims, before committing the act of castration. 

Elsewhere Melisandre and Gendry are aboard a ship discussing their untraceable parentals, that is until Gendry discovers his father is Stannis Baratheon and thus possesses noble blood. It is a very short, revelatory sequence but worth a mention merely for its beautiful aerial shot of Stannis’ sunken ship as a result of wildfire. Arya remains with the Brotherhood without Banners, angry at their betrayal. This situation is made even worse when the Brotherhood decide to take a detour, delaying Arya’s return to her family. She proceeds to make an escape but is caught by The Hound.

It is a credit to the writing staff that all of the above narrative tropes and pairings are linked together so well. Whether literally related or thematically, the transgression from one arc to the next feels seamless. Careful and meticulous crafting of this nature is essential to a programme with such a vast and complex array of characters. Perhaps this is why the likes of Bran, Rickon and Jojen feel so out of place and are the least enjoyable. Whilst their quest does link to Jon Snow, the care for these characters still feels a little forced as a means of making up for its irrelevance.  

What about Jaime Lannister and Brienne of Tarth I hear you say? Well the best pairing has of course been saved for last. In a heartfelt and regrettable goodbye, Jaime swears to Brienne that he will return the Stark girls to their mother. He then mounts horse and, accompanied by Harrenhal residents, makes way to King’s Landing. Jaime asks the on-road doctor looking after his amputee wound what will become of Brienne. The doctor replies that she will remain at Harrenhal as no amount of riches offered by her father will suffice, from the belief that they secretly own sapphires. This of course was a previous lie told by Jaime in a bid to save Brienne from degradation in the first place. On realising she will serve as Harrenhals “entertainment”, Jaime’s chivalrous tendencies kick in.

He orders they return to Harrenhal to save her. Upon arrival, he finds Brienne fighting off a bear with a wooden sword for a large crowd of jeery, uncouth men. Think Maximus and the tigers in Gladiator only without the romanticised, shimmery and hyperbolic aesthetic. Instead the sequence possesses an air of brutality and nihilistic realism... CGI bear aside. In an act of sheer bravery, Jaime jumps into the pit and single-handedly (... sorry couldn’t resist) saves Brienne. Jaime then insists on her leaving Harrenhal and exits with a brilliantly executed quip, “... sorry about the sapphires”. Not only is a bear fight and heroism just great, entertaining television, but it is also an insight into just how much Jaime as changed as a character. He’s gone from a carefree, selfish and incestuous being to a caring, brave and valiant man. It will be interesting to see how his relationship with Brienne develops from here. 

So we've had castration, bear fights, power struggles and sex talk this week, all conceived through top performances, an excellent script, beautiful scenery and quality special effects. But... where do we go from here? Throughout remains that ever-present sense of intrigue, a build up of pace and strength – when will it all kick off? As the characters come closer in proximity in every which way, and with only three episodes left, the answer must be soon. Regardless, this week has provided another brilliant step of the way. 

What were your thoughts on this week's episode? Post a comment!