The Small Council: A last look back at “High Sparrow”

The third episode of Game of Thrones’ fifth season, “High Sparrow,” has come and gone. What were the highlights? The lowlights? Were we thrilled by the twists and turns along the way, or was the knowledge that we would get to wax indignant about them on the internet the only thing that made them bearable? The Small Council is in session.

DAN: “High Sparrow” was my favorite episode of the season so far. Both “The Wars to Come” and “The House of Black and White” were primarily concerned with set-up, which made them feel a little on the slow side. There’s some of that going on in “High Sparrow”—Cersei’s story is still getting up to speed, for example, although that passive-aggressive standoff between her and Margaery needs to be put on film and preserved for future generations. Overall, though, “High Sparrow” created a lot of forward momentum, and much of that was thanks to Sansa.

I know that reactions to Sansa’s engagement to Ramsay Bolton have been mixed. Book-readers are concerned that it’s too big of a departure, while Sullied and Unsullied alike worry that we’re in for a repeat of the disastrous Sansa-Joffrey courtship, only even more extreme. I’m a little more optimistic. I have no doubt that Sansa is going to be put through her paces, but I think she’s learned enough to survive whatever’s coming her way, and then to serve some of it back. There’s been a lot of anticipation over the emergence of “Dark Sansa,” but what good is a new, confident approach to life if you’re stuck shuffling around the Vale? Relocating Sansa to Winterfell will allow her to put her revenge-positive attitude to use against some truly loathsome enemies.

Plus, with Sansa’s arrival at Winterfell, I feel like the shape of the season is coming into focus. Sansa, Littlefinger, Theon, and the Boltons are all clustered inside the castle. Brienne and Pod are shadowing Sansa, while Stannis is planning to march south (and let’s not forget that the show reminded us this week that Brienne is still holding a grudge against Stannis). Much like with Tyrion and Jorah meeting up in Volantis, these characters are being set on a collision course.

Shallow parting shot: the set for the inside of the House of Black and White is gorgeous beyond measure. What did you guys think of “High Sparrow?”

KATIE: One of my favorite things that we’re seeing more of now is this convergence of characters—Stannis & Friends at the Wall, Jorah and Tyrion, Arya’s fabulous Braavosi adventures. and Sansa coming head-to-head with the Boltons. In a series with so many characters, I think one of the most interesting ways to shake things up is by throwing different characters together and seeing how those new relationship dynamics pan out. It’s definitely a necessity to keep things fresh and provide forward momentum, and I’m excited that we’ve reached these sort of game-changing setups.

Of course, with such game-changing setups comes the kind of intrigue that can border on anxiety. Although I’m ready to see what happens when the North remembers, I agree with Dan that Sansa’s path isn’t in the clear—no matter how much Ramsay is feelin’ her vibe, he’s still a sadist, which isn’t something a pretty face can turn around. But considering she’s a Stark—the last known living one, no less—there’s going to be some major hell to pay if she’s hurt. The Northerners clearly don’t play games. A Stark is back in Winterfell, and considering how often the necessity of this was drilled into our heads in previous seasons, that’s going to make a difference.

One of the storylines I’m not so jazzed about is whatever’s going on with that whole uber-religion in King’s Landing. As an Unsullied, I just don’t know where this is going; I assume it’s going somewhere or it would have been cut, but right now I just find all the self-righteousness irksome. The High Sparrow seems to mean well, but his followers should probably just stay out of everyone else’s business. As curious as I am to see what the end game is here, it’s rubbing me the wrong way. Then again, maybe that’s part of the point. I’ll just sit back, wait and see.

CAMERON: I think I just really enjoyed how quiet this episode was. Sure, the show’s great at fights and stuff, and I enjoy that as much as the next person. But this episode was really about giving the actors space to develop their characters in the context of the new status quo, and everyone from Sophie to Maisie to Lena to Kit to Gwendoline (just to name a few) performed admirably . And then there’s Jonathan Pryce. I wouldn’t dare spoil what’s coming for you, Katie, but I hope you come around to what this religious storyline is all about by the time it’s over. Sadly, I think some of the parallels are lost by not having the Iron Islands plot mixed in, but the show has at least found a secondary parallel in the Sons of the Harpy that I think works just as well.

Now if only I could shake this sense of dread at what’s coming for Sansa…

DAVID (RAZOR): Episode 3 definitely diverged from the books in some major ways, and I must admit to being caught off guard by the changes. However, there were some great scenes straight out of the pages of A Dance with Dragons that had me grinning ear-to-ear. When Jon ordered the men of The Night’s Watch to take Lord Janos outside, I was sure that we would get one of my favorite lines from the book, “Edd, fetch me a block.” Instead, we got “Olly, get my sword,” which did not hold the same power for me (at least we got the Stannis nod of approval).  On the other hand, when Jorah abducted Tyrion, he delivered his exact line from the book, “I’m taking you to the Queen,” which had the same cliff-hanging effect as it did at the end of Tyrion’s chapter in Dance.

Those scenes aside, one thing that stood out to me in “High Sparrow” was Kit Harrington’s acting. And it’s not just this past episode that Kit has stepped up his acting game—he’s been steadily improving with each episode this season. From his final conversation with Ciarán Hinds (Mance Rayder), to his obvious conflict with beheading a man who begged for mercy, Kit continuous to be an acting force to be reckoned with. Also, the cinematography in the episode was some of the best of the series thus far. That shot of Moat Cailin was hauntingly beautiful, and then there’s the Long Bridge of Volantis; those scenes left me awestruck.

As far as Sansa goes…I’m with you Cameron, I have this deep and foreboding feeling that things are about to get nasty at Winterfell, and if events go down like I think they will, I will NOT be okay with that particular outcome.

ANI: WASN’T ONE MONSTER ENOUGH?

No. Really.
Wasn’t.
One.
Monster.
Enough?

That was my take away from this episode overall. Yes, there were tons of good moments. Watching Margaery bat Cersei down not one but three times in the course of a conversation was delicious, as was watching Janos’ head say its farewells to his shoulders. And though through Tyrion’s story, we learned the perils of demanding to speak to someone with hair, we also learned that, with Arya, sometimes, that last bit of home was just too hard to let go of.

But it was all overshadowed by the confirmation of our worst fears. Sansa has come back to Winterfell, and unlike the Rock, she doesn’t smell what Ramsey is cooking. Worse, neither does Littlefinger. How Bolton has kept his sons torturous predilections quiet for all these years is a mystery, but one that almost answers itself—who cares what some lord’s bastard does in his spare time? Too bad Baelish rushed into this engagement without gathering the necessary information on Ramsay’s off-the-clock activities. Instead, he gambled—after all, what were the odds of Sansa getting engaged to two monsters back to back? They weren’t high enough. And Cam and Razor, that sense of dread you feel? That’s you remembering how much stuff Ramsey does off-page in A Dance with Dragons. Who’s to say that Benioff and Weiss won’t depict some of it? I’m just saying if we get the scene with the dog, I may be traumatized for life.

• Published on 05/01/2015 at 11:27 AM CDT
• Last updated on 10/21/2016 at 1:05 PM CDT