Like Arya, Brienne seems to bristle at terms like "lady" and can seem to look down on conventional activities and symbols associated with women. They can write this story well, but it's a fairly simplistic application of feminism. Try to track the show's women characters, though, and it's all over the place.īrienne is consistent, but that may also be because she's written like a man, which is actually the point of her story: that she's a play on the classic chivalric knight character simply because she is, against custom, a woman. The arrogant Jaime Lannister was humbled after losing his sword hand, and is being set up to confront a choice between the only "real" thing in the world to him-his codependent, twincest romance with his wicked queen sister-and the good of all humans in Westeros facing ultimate evil and death. The sellsword Bronn is now a knight who fights dragons and risks his life to save his friends (even if he claims again and again to be motivated by profit). The Hound learns to feel guilt and gets a little religious, burying skeletons of peasants who died because he had robbed them years (seasons) ago. As much as Benioff and Weiss want to pat themselves on the back for writing impressive female characters brought to life by genius actors, this season is driving one point home: The show believes women are too emotional to rule.įollowing many male characters to the end of Season 7, we see either redemption arcs or inversions of conventional fantasy tropes. There were also no scenes of rape or attempted rape. This season does have the highest numbers of women's onscreen deaths, with 22 of the 113 total. It's the bloodiest season, and those numbers don't even include the uncountable hordes of armies burned by dragons or deaths of animals. In Season 7, everything is hastily being shoved into place.
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