There are more dragons than there are black people in the core cast of HBO’s Game of Thrones — a show on which at least six people die before breakfast every day. So, you might understand why I’m petrified that the achingly beautiful Grey Worm (Jacob Anderson) and Missandei (Nathalie Emmanuel) will bite the dust sometime between the current season 7 and the final season 8. If they do…? I say we riot!
On a show that prides itself on over-the-top violence, over-the-top sex, and over-the-top sexual violence, the gentle, quiet, love story of Daenerys Targaryen’s two trusted companions has been a welcome balm. Grey Worm, forcibly castrated and enslaved as a young boy, now serves as the commander of Dany’s army. Missandei, also a survivor of enslavement, is Dany’s translator and general bestie (as much as someone can be pals with the Mother of Dragons). And, frankly, most of the time I like them better than anybody in that particular story arc.
The seventh — and penultimate — season of Game of Thrones premieres July 16, and I’m telling you right now that the most important seats at this show’s table belong to Jon Snow and Daenerys Targaryen. Actually, scratch the plural on those seats. It’s one big ol’ chair with Jon in Dany’s lap (or the other way around, if you prefer). Because everything in this series has been leading up to the inevitable team-up of these two characters — both on the throne and in a bed!
I know what you’re thinking: “But he’s her nephew!” Dude, Dany breastfed three dragons. I’m not all that concerned about whether her hooking up with a relative she’s never met is inappropriate. See also: Jaime and Cersei Lannister. Jon turning out to be a lost Targaryen (child of Dany’s brother Rhaegar and Ned Stark’s sister Lyanna) is nowhere near as creepy as the incestuous bone-town that is King’s Landing.
The many faces of Maslany
Award nominations are always a crap shoot. As someone who’s been involved in several smaller-scale award slates, I can testify to how complicated and idiosyncratic the process can be. But all of my knowledge—and the world-weary acceptance of a long-time TV and movie fan— doesn’t help when the Emmy and Oscar ballots come out and some stellar performances get overlooked for tired always-haves.
The 2015 Primetime Emmy nominations were announced today and the list saw some joyous inclusions — like Orphan Black‘s Tatiana Maslany, who plays several distinct clones with a mind-blowing talent and Taraji P. Henson, overlooked and underused on CBS’ Person of Interest and a force to be reckoned with on FOX’s Empire as Cookie Lyon.
I am beyond thrilled for Tatiana, Taraji and How to Get Away With Murder‘s Viola Davis. But the status quo hasn’t really changed. Where are the nominations for Orphan Black and Empire as shows? The latter brought in unprecedented numbers and had viewers riveted. Was Mad Men sincerely better this year? The Academy continues to rely on the Homeland/Modern Family/whatever-we-did-last-year model of nominations. We again see premium cable and Netflix cleaning up, without any recognition some of the year’s most breath-taking performances on network and basic.
Writing a sexual assault into your canon? Take a look at this handy-dandy checklist first:
When is it Okay to Use Rape as a Plot Device?
And, yet, it persists. So many television shows, both daytime and primetime, revert to rape as a “deep” or “edgy” stunt to move a story forward, reveal a piece of characterization, etc. The latest being HBO’s Game of Thrones. Sonia Saraiya at the AV Club wrote a brilliant takedown of the show’s insistence on changing consensual sex scenes to rape scenes here and there’s not much I can add to that but my anger. And my exhaustion.