Game of Thrones Season 6 – Women Rule, their Rise and a few Falls
Game of Thrones season 6 watched, check. Hardly respite from Brexit daggers-in-the-back fallout and the decimation of the leadership of the Labour Party and Conservatives. So, no spoilers…but you just know somebody(ies) GoTta die!
What I have loved about this series has been the full-on characters, and willingness to “take them out”, often en masse. The “Red Wedding” episode has gone down in TV history as a lesson in killing the lead characters. Viewers are now stuck in a Nordic noir drama, namely Stockholm Syndrome, addicted to our abuser awaiting George RR Martin’s next, very literal, character assassination.
What’s not to like? Women on Top
Whilst some women have fallen, season 6 saw the downfall of more men, often at the direct or indirect hands of women. It’s hardly a confessional secret, but I love strong women, I am a kind of one – despite protestations from Germaine Greer.
And if you think women can’t do objectification, think again. Spend enough time in the company of bisexual and lesbian women, and you will hear just as many “phwoars”, just with less of the “show us your tits”. I call it objective appreciation as opposed to rarely-appreciated sexual objectification. I’ve been in a room full of lesbian feminists, only to witness one-half of the room ogling a Beyoncé and Shakira video and the other half, shaking their heads in shock.
Women with swords, women with daggers, women with fire, women with dragons, women with … what’s left, oh yeah, brains, breasts and ‘balls’! More clitzpahthan chutzpah!
Medieval Reality or Fantasy Desire
George RR Martin paints a none-too-pleasant medieval reality for most women, except perhaps those on Dorne. Rape, violence, abuse, no inheritance, impractical dress sense etc. Whilst the books, and even more the HBO series, panders to male and some same-sex fantasies of women in tight leather bodices or much less, he also allows fantasy to break the lace and leather ceiling for some of his powerful women. They can rise to the top and take out the men, as well if not, better than the men fighting their way to the Iron Throne.
“It might appear, looking at Westeros and the medieval past from which so much of its inspiration is drawn, that the ladder is built for men. The wearing of skirts, not to mention the frequent necessity of taking them off, keeps women from competing in the climb…the women of Westeros with noble blood in their veins have choices that aren’t available to those at the bottom of the social pile. Sex sells, and what’s true for HBO’s ratings is true too for Westeros’s women who start with nothing…Unclothed female bodies offer a route up the ladder…History tends to record only the names of those who make it to the top – and what’s true for men is doubly so for women.” – The Guardian (2014, no current season spoilers)
The Art of War
It is the women in Game of Thrones who truly inject the ‘art’ into the art of war. Season 6 sees women have their military advice spurned and yet still save the men’s day. Their socio-political acumen is no more ably demonstrated than Daenerys, the socially reforming yet empire building Queen of Westeros, well just Essos, for now.
Speaking of art, here are some maps of Westeros and Essos, accurate, stylised, tube maps and suggestions that Westeros is a England and Wales, with an upside down Ireland beneath, and Scotland as north of the wall!
The Women of Westeros & Essos Awards
My top 5?
Yara Greyjoy for wearing the trousers in her family and having a girl in every port like a good sailor
Arya Stark for wanting to fight ‘like’ if not better than a boy and keeping Sean Bean’s memory alive, not to mention her cooking skills (spoiler)
Daenerys Targaryen for liberating slaves and dragons
Brienne of Tarth for loyalty and knight’s ethics
Ygritte the Wildling redhead who held her own in a brutal environment and for appreciating Jon Snow’s potential
Best rising stars
Sansa Stark for stopping being a precious princess and learning to get what she wants not what men want of her.
Lady Lyanna Mormont for being 10 years old and telling the men what to do, and what loyalty and balls mean.
Best falling star
Margaery Tyrell for playing the long game and … [spoiler] getting through a number of men:
“Margaery…used her femininity as a smokescreen to mask her ambition and learnt how to beat the boys at their own game, telling her menfolk exactly what they wanted to hear. She accepted first husband Renly’s homosexuality, massaged second husband Joffrey’s ego, and boosted latest husband Tommen’s shaky confidence.” – Daily Telegraph (2016, contains season 6 spoilers)
My top threesome – no, not that kind!
The feisty fighting ‘Sand Snake‘ sisters, although their best verbal put down was by Lady Tyrell at the end of season 6 (no spoilers in the clip below).
Diana Rigg, playing Olenna Tyrell, at age 77, puts the younger women in their place with ease and disdain!
Game of Thrones likes its bastards, even having a “Battle of the Bastards” episode this season. The Sand sisters are the eight bastard daughters of Prince Oberyn Martell, several of whom he trained in warrior arts. I’m guessing their mothers trained their trashy tongues! Ellaria Sand was mother to four of them.
Dishonourable matriarch honorable mentions
What they would do for family, and in Cersei’s case would even ‘do’ family!
Lady Olenna Tyrell – Avengers cool, calm, calculating
Cersei Lannister – Evil but good at it!
Very Dishonourable Mention
Melisandre, the Red Witch/Priestess of the doesn’t-live-up-to-his-name “god of light’, for sacrificing a child, not even redeemed by bringing back John Snow. Winter is coming for her! Season 7 of Game of Thrones will be just seven episodes, it will be both too short and long-awaited.
STOP PRESS: Jeremy Clarkson and Top Gear team to return
But on Amazon Prime online video streaming in 2016 not the BBC. Meanwhile Top Gear will return to the BBC but with a different team. The schadenfreude is palpable as the BBC reports on their own loss of a profitable though oft inappropriate franchise.
In an Amazon statement, Jeremy Clarkson said:
“I feel like I’ve climbed out of a biplane and into a spaceship.”
Richard Hammond quipped:
“Amazon? Oh yes. I have already been there. I got bitten by a bullet ant.”
James May saw the perhaps double irony:
“We have become part of the new age of smart TV. Ironic, isn’t it?”
BBC suspends Top Gear’s Jeremy Clarkson amid mass Change.org petition
Whatever the “fracas” and nature of petulant millionaire star twat Jeremy Clarkson‘s “interaction” with a BBC producer, there’s nothing like a Top Gear fiasco (one of many over the years) to get the nation raging along with over 1 million signatories on a Change.org petition delivered this week by self-propelled big gun, aka tank (probably the slowest vehicle to appear in relation to Top Gear), to BBC HQ. It is just such a shame that this is what energises us and not more significant world matters.
Clarkson hinted that he was on the way out and had no fear, now that the internal inquiry is over – though not published, in berating his BBC bosses with a f*** laden foul-mouthed tirade at their idiocy at potentially ruining the Top Gear formula.
Diverse Top Gear Replacements
Suggestions to replace him have included Sue Perkins, Julian Clary, and Alan Partridge. Whilst they are all comedians, at least Perkins would not be sexist (towards women at least), neither she nor Clary would be homophobic, and any of Partridge’s foreign jokes would be obvious parody and satire. Other comedians who’ve appeared in the Star in a Reasonably Priced Car race around the Top Gear test track have included Eddie Izzard, Omid Djalili, and Sanjeev Bhaskar – all of whom would counter the alleged racism of the show.
Having Ellen MacArthur, Jennifer Saunders, or Jodie Kidd, on as the fastest women on the track would prove it doesn’t need 3 blokey blokes to present it – although that is the formula to date, and a politically correct presenter team would be as bad as the minimum female comedienne to be included on all panel shows which smacks of tokenism and harms female comedians standing in their own right.
Top Gear Matters to the BBC
Forget the impending General Election, Islamic State, Boko Haram, austerity crisis, the real serious issues of the day are the state of England cricket team – actually, that is pretty bad – and Clarkson’s latest open mouth (insert foot, boot, and massive car) bad boy laddish humour, allegedly watched by an audience almost equally split between men and women (60:40).
Top Gear, Clarkson, and his 4.63m twitter followers, are the BBC’s greatest export (yes, bigger than Doctor Who), greatest that is in financial rather than cultural terms. Bedder 6, as the anonymous company is called, helps to draw in £150m a year for BBC Worldwide from Top Gear from 150-350m viewers across 170 countries and spin-offs.
Just this week it was announced that in December Top Gear had somehow been cleared by the BBC of using “pikey” in a derogatory manner, to the utter dismay of representatives of Traveller communities.
The show is often no-holds-barred macho-masculine pub banter comedy that has comprised insults around race, nationality, sex, and disability. Just read some of Clarkson’s own attempts to be positive about women and yet explain the lack of female representation on the show itself:
“if one presenter on a show is a blonde-haired, blue-eyed heterosexual boy, the other must be a black Muslim lesbian. Chalk and cheese, they reckon, works. But here we have Top Gear setting new records after six years using cheese and cheese. It confuses them… Unlike furious thin-lipped feminists, I tend not to draw distinctions between men and women, apart from in bed where you really do need to spot the differences. At work, girls are just people.”
Conservative MP Maria Miller, has offered support for Clarkson, despite her being a former Disability, Women and Equality Minister. Speaking to BBC Radio 4’s The World at One, she said:
“The BBC needs to be better at managing its talent … there are other organisations that have to deal with larger-than-life characters…[he] is…a legend, not just in this country, but around the world.”
Legends, however, are extinct people, like the dinosaurs, something that Clarkson himself, in his column in The Sun, admits to being.
“The fact is that you can sign as many petitions as you like and call on the support of politicians from all sides, but the day must come when you have to wave goodbye to the big monsters and move on… I think it’s fair to say that nature made a mistake when it invented the dinosaur. It was too big, too violent. So one day, all the dinosaurs died and now, many years later, no one mourns their passing. These big, imposing creatures have no place in a world which has moved on.”
Does this mean that Clarkson should go the way of the dinosaurs and gas-guzzling cars? That a petition to reinstate him is as pointless as one to bring back Terry Pratchett – however, wonderful a tribute to the latter author?
Change.org Petition to #BringBackClarkson
A record making petition on Change.org had accelerated to nearly 600,000 signatures in barely a day (now over 1,112,000), easily eclipsing more political or ethical campaigns such as the pardon for 49,000 gay men prosecuted in the UK for acts now considered legal. The site’s popularity is such that I could not even get on to it to check the count at 10pm Wednesday night, as it was down with an “Error 502 Bad Gateway” , unless that was some political ploy due to the embarrassment of its success. Well it’s back now, seemingly the site is crashing under Clarkson’s popularity, and advocating the “Freedom to fracas” and with comments including:
“I pay my TV license to ensure that irreverent people can express themselves. If you become boarding [sic] and politically correct, you may disappear BBC.” and “A minority of over sensitive people should not ruin one of Britons [sic] favourite shows.”
I wouldn’t call allegedly hitting a producer over a lack of hot food and xenophobically referencing his Irish nationality, an act of irreverence nor suspending someone for that act, “over sensitive”. That the two most popular comments both had spelling mistakes should not lead anyone to any stereotypical conclusion. They were probably texting whilst driving their fast cars!
BBC Public Service Priorities
As a public service broadcaster with essentially a tax or compulsory licence fee, the BBC’s priorities should not be mere entertainment or subsidised insults.
“Change will not come if we wait for some other person or some other time. We are the ones we’ve been waiting for. We are the change that we seek.” – Barack Obama
The limits of Satire, Comedy & Humour
In my past I’ve enjoyed Top Gear, some of the banter and car challenges, but I’ve squirmed at the sexist racist humour Humour is one thing, the question is whether it’s actually deeply held bigotry disguised as humour, or an ever-so clever parody of “UKIP white van man racism” – which will no doubt be seen as offensive to white van men. The thing about satire and parody is that they often fail, as with Comedy Central’s Colbert Report on race and trans issues, when delivered by people in the majority who’ve not experienced prejudice, whereas the Kumars making fun of being Indian is.
What makes the parody both unlikely and unbelievable is that either Clarkson is a bigot or he maintains the persona off-screen as well. To Clarkson, even his suspension is just another joke, despite knowing he was on his last warning.
I’ve done stand-up comedy myself, and made it a rule to only insult and offend myself, not others – although I can’t stop some still choosing to take offence.
Top Gear‘s humour is pub or front room banter, the kind you use when you think nobody is watching – but there are tens, if not hundreds, of millions that are.
And this is the “British values” we should be so proud of exporting? I’m all for freedom of speech, but allegedly hitting your employer’s staff, insulting other nations, and expecting to not only get away with it but get paid millions for it?
Whilst the infraction was off-air, it is no less abusive of workplace colleagues and bullying, despite it not being part of an aired programme. According to The Mirror, he called Oisin Tymon:
“a “lazy, Irish c***” before splitting his lip with a punch that left the 36-year-old with blood running down his face and needing treatment in A&E, the BBC investigation will be told.”
Hitting is not humour, and nor was it his first public punch up. If the rest of the show is very clever parody like Alan Partridge or Comedy Central, then it does not work. It is very hard to successfully satire racism, sexism, ableism and homophobia, all of which have appeared on Top Gear. All the more so when it fuels the white male entitlement patriarchy rather than challenges it.
“Top Gear is an escapist post modern light comedy entertainment show; the vital ingredients being Clarkson, May, Hammond and cars will keep it on the Beeb for a while to come.”
Apart from what may be a short-lived 2011 prediction of its long-term longevity, I beg to differ. Their lives on and off the screen are making stereotypical jokes, setting chauvinist poor role models, and should not be the BBC’s best export. The fact that it is popular in human rights violating China and Putin’s Russia should not be a cause for celebration if it encourages their sexism, xenophobia, and homophobia, rather than challenges it.
“If you don’t like something, change it. If you can’t change it, change your attitude.” – Maya Angelou
Jeremy Clarkson – change your attitude, everyone else sign some petitions and be the change! If we are evolved at all, it is time the politically incorrect (such a polite term for sexist racist ableist homophobes) dinosaurs died out.
We can’t get enough of Benedict Cumberbatch and the BBC‘s Sherlock, fortunately the Beeb have announced they are to return with filming of a 2015 Special beginning next January and then another 3 episode fourth season later in the year to hit our screens in 2016. The dripfeed of tantalising information began last Tuesday with a BBC One tweet:
Of course the hashtags, #221back and #Sherlock, gave it away but talk about teasing foreplay and dangling this before us and yet making us wait over a year. It is because both the actors and writers are so good that they are in such demand elsewhere too. Cumberbatch on Star Trek, Martin Freeman on Fargo and both of them in The Hobbit. Then at precisely 2:21pm GMT, simultaneously in the UK and US, the BBC announced, and serially re-announced, the news formally, again via the trending #221back hashtag:
We’re ready to unleash the most shocking and surprising series of #Sherlock yet. The only thing is to expect is the unexpected… #221back — BBC One (@BBCOne) July 2, 2014
The new series will be “deeper and darker” than before, and Moriarty could be back. Steven Moffat hinted that “the very next thing to happen to Sherlock and John, is the very last thing you’d expect.”
And so “the game is on” – again!
What has become a catchphrase of Sherlock, “the game is on”, is an update to “the game is afoot” which was originally uttered in just one Sherlock story, The adventure of the Abbey Grange:
“It was on a bitterly cold and frosty morning during the winter of ’97 that I was awakened by a tugging at my shoulder. It was Holmes. The candle in his hand shone upon his eager, stooping face and told me at a glance that something was amiss. ‘Come, Watson, come!’ he cried. ‘The game is afoot. Not a word! Into your clothes and come!’ Ten minutes later we were both in a cab and rattling through the silent streets on our way to Charing Cross Station.”
“The game is afoot” was not an original Conan Doyle inspiration but rather a phrase borrowed from that other English master craftsman, Shakespeare, some 300 years earlier. It first appears in a Shakespearian play, spoken by the Earl of Northumberland, in Henry IV, Part 1, Act 1, Scene 3:
“Before the game is afoot, thou still let’st slip.”
It also appears in the famous speech of King Henry beginning, “Once more unto the breach, dear friends…” and ending:
“I see you stand like greyhounds in the slips, Straining upon the start. The game’s afoot: Follow your spirit, and upon this charge Cry ‘God for Harry, England, and Saint George!'” (Henry V, Act 3, Scene 1)
Appeal of Sherlock Holmes
Many people, especially women, find intelligence attractive – “brainy is the new sexy”, but self-confessed cold aloofness and detachment?
So why the appeal of Sherlock with his narcissistic superior personality not to mention narcotic escapism on the side. Just why is Sherlock so addictive? Is it that we too are escapist fantasists wishing for an attachment with someone so detached, or do we want to be him, as intelligent and as apparently not needy? Although, it is clear from his weaknesses for drugs and Dr Watson, that he is, however idealised, still far from emotional self-sufficiency.
“My life is spent in one long effort to escape from the commonplaces of existence.” – Sherlock Holmes
It’s not as if Sherlock is great marrying material, given his views on the subject:
“Let’s talk about…murder. Did I say murder? I meant to say marriage. But, you know, they’re quite similar procedures when you think about it. The participants tend to know each other, it’s over when one of them’s dead. In fairness, murder is a lot quicker though.” – Sherlock, BBC
Sherlock himself was not one for emotional attachment, as the modern Sherlock says, “Sentiment is a chemical defect found in the losing side”, but his one weakness was for Irene Adler, whom Conan Doyle describes thus:
“To Sherlock Holmes she is always the woman. I have seldom heard him mention her under any other name. In his eyes she eclipses and predominates the whole of her sex. It was not that he felt any emotion akin to love for Irene Adler. All emotions, and that one particularly, were abhorrent to his cold, precise but admirably balanced mind. He was, I take it, the most perfect reasoning and observing machine that the world has seen…. And yet there was but one woman to him, and that woman was the late Irene Adler, of dubious and questionable memory.” – The Adventures of Sherlock Holmes
I’ve loved Sherlock ever since reading all 60 stories – published over a 40 year period, aged 15, and writing my English OA level special paper on him. I love his intelligence, but not his supposed rational avoidance of emotion for it is clear he loves Watson, not to mention the allusions to attraction and love for Irene Adler.
Elementary my dear Watson
Whilst the US adaptation of the Sherlock brand, the TV series Elementary (Season 1 – 2012, 2 – 2013/14 and Season 3 announced), has been running nearly as long, it takes a different road. Sherlock, played by Jonny Lee Miller, gains the first female crime-busting sidekick with Lucy Liu as Dr Joan Watson – Sherlock’s sobriety companion, a form of addiction counsellor. Sherlock in this is more gritty, troubled, emotional – indeed more human, but no less intelligent despite essentially being in rehab.
It would be a massive SPOILER ALERT for watchers of the US series to reveal the clever twist in just who Moriarty may be. More details, if you already know, or don’t care, on the Wiki list of Moriarty portrayals.
Whilst Elementary is quite different, both play upon the original stories and cleverly leave us guessing as to how they will interweave Victorian plots and book references whilst remaining gripping narrative arcs with surprise twists. That said, Elementary drifts ever further from the originals and seems to exhibit little loyalty to the originals, not that Moffat and Gatiss are renowned for traditional faithfulness either, especially with the way they’ve reinvented Doctor Who – albeit, in my opinion successfully and brilliantly.
Holmes, House and 221B
Although, contextually further away from the criminal detection, the American series House, again with a British actor playing the lead, transposes Holmes and to a lesser extent Watson, to a medical milieu. In many ways, it has been argued, the series is more faithful to the character of Holmes whilst straying almost completely from the plots. In this case it is Dr Gregory House, played by Hugh Laurie with his medical friend Dr James Wilson, same initials as Dr J Watson. They both live at 221B’s, House actually on Baker Street. Their first patient is named Rebecca Adler and later a reference is made to another patient, Irene Adler.
Modern Film Interpretations
Sherlock Holmes has also been brought back to the big screen, so that we have three adaptations of him running simultaneously, along with the BBC version and US Elementary. In 2009, Guy Ritchie directed the first instalment of a British–American film series, produced by Joel Silver. It was more than sufficiently successful to merit a sequel, Sherlock Holmes: A Game of Shadows, coming out for Christmas 2011. A third film announced that year by Warner Bros is still, according to Jude Law in 2013, at scripting stage. Robert Downey Jr played a believably narcissistic Holmes to Law’s suave updated, rather than bumbling, Watson. Whilst the films were more action based than the originals, they have been updated for our times, just like the TV series, but with bigger budgets.
David Stratton, writing in The Australian, in a piece called “The Swinging Detective“ disliked the first film’s Indiana Jones-styled interpretation of the original stories concluding, “The makers of this film are mainly interested in action; that, they believe, is all that gets young audiences into cinemas today. They may be right, but they have ridden roughshod over one of literature’s greatest creations in the process.” The fact that there are literally dozens of versions, though, and that each may drive young readers back to the books, is surely a good thing. Just like stage plays and films of Shakespeare one can go for authenticity or adaptation, if not reinvention, it does not diminish the original, rather it shows how versatile and enduring the stories are.
Actors who’ve played Sherlock Holmes
Holmes is the most portrayed character in movies, of all time, with some 70+ actors playing him. Of all his portrayals, though, I’ve always loved the classic Basil Rathbone on TV and the sharper, perhaps less likeable, Jeremy Brett. Probably the worst, for me, at least, were Charlton Heston, Roy Hudd, Roger Moore and Edward Woodward – not that I didn’t like these actors in other roles, the latter in Callan, for instance.
On radio, a medium quite well suited to the stories, I loved Clive Merrison, the only actor to cover every story and thus the entire canon of Sherlock Holmes. Carleton Hobbs managed 56 of the stories in 80 radio productions. In the war years, Sir John Gielgud performed several radio versions.
The updated television versions make extensive use of visual demonstrations of Holmes’ thought processes, not to mention texting and phone technology, an advantage of television over radio, which lends itself to modernisation rather than authenticity. It may surprise you to know that John Cleese played Sherlock Holmes in a 1977 comedy spoof The Strange Case of the End of Civilization as We Know It. Other unlikely actors included Larry Hagman of Dallas fame playing him in another comedy drama made for television movie as a motorcycle cop who after an accident believed himself to be Sherlock Holmes. Peter Cook and Dudley Moore also paired up in a comic version.
More seriously, Leonard Nimoy, perhaps as the emotionless Spock well suited to the role, played Sherlock on stage for the Royal Shakespeare Company (RSC).
A Growing Audience
It is to be hoped that modern reworkings of Sherlock Holmes in Sherlock, Elementary and the film franchise will create a new young audience for Conan Doyle’s character and send them back to books to marvel at Victorian penmanship.
Sherlock’s Facebook page has 3.7m likes and no doubt after 10 million Brits watched him rise from the dead, that figure will just rise and rise again.
[An earlier version of this article first appeared here]