Well, here we are again, my friends. And while “Dragonstone” was preoccupied with a lot of the table setting – literally and figuratively – that will guide us through this seventh season and send this show rushing towards its conclusion, it also asked some of the big questions that undergird the race for the Iron Throne. How do you build durable alliances when some of the parties to those alliances have suffered grievous material and psychological hurts? How do people who have turned into monsters, either by trauma or simply for others convenience, go back to being human beings again when the need for their monstrousness has been exhausted? And what do you do when your needs align, but not the larger ideological projects behind those needs?
“Dragonstone” isn’t exactly subtle about the parallels between Cersei Lannister (Lena Headey), newly installed as Queen in King’s Landing, and Sansa Stark (Sophie Turner), who is not the Stark supreme in Winterfell and has mixed feelings about her new position. The similarities between the two women are alternately harsh and heartbreaking, and they reveal the reach of the misogyny that has deformed both of their lives.
Both women have legitimate grievances, however many events have overshadowed the primal sources of their anger. Cersei and Sansa were both staunch believers in romantic ideals and courtly fantasies; they both dreamed of being married to kings. In both cases, those girlish dreams were eclipsed by the marital rape Cersei experienced at the hands of her husband, Robert Baratheon (Mark Addy), and the sexual abuse Cersei allowed her son Joffrey (Jack Gleeson) to inflict on Sansa. Sansa would suffer further, harsher trials at the hands of Ramsay Bolton (Iwan Rheon), who married her to cement his claim to Sansa’s family home, tortured her sexually, enlisted Sansa’s foster brother Theon …read more
Source:: The Denver Post