''If you want justice you have come to the wrong place'. Tyrion Lannister addressing Prince Oberyn Martell.
Tyrion is caught between a rock and a hard place and events only further decline for the diminutive quipster in these three segments of the epic fantasy adaptation. Outside the confines of King's Landing, quite a few other events play out in the wake of the Battle of Black Water Bay and The Red Wedding; as the denizens of Westeros struggle to adjust.
A lot of ground is covered in episode six, progressing various notable storylines. Since his heavy loss in attempting to capture King's Landing, Stannis Barratheon has been licking his wounds. Now he seeks new provisions and capital via the bank of Braavos (featuring a typically memorable cameo from Mark Gatiss). Having mentioned Braavos before, as well as featuring several characters from there, the show now transports the viewer properly. Another bonus is that loveable rogue Salladhor Saan briefly returns - still as shameless and promiscuous in lifestyle as ever.
Then the long-awaited reappearance of Yara features as she attempts rescuing Theon/Reek from his captors. However she is simply too late to connect with any remnants of the brother she once knew - he denounces her as a mirage and so she leaves empty handed. There is a rather curious moment where a bare-chested Ramsey turns his back on Yara and threatens to unleash his wild dogs. It strains credibility and indeed overall the set-piece is rather redundant.
Across the Narrow Sea we catch up with the latest challenges facing Daenerys as she tries to preside over her subjects in Meereen. She must accept that her dragons are regarded as being loose cannons and even her crucifixions of the seemingly malicious slave-masters is not met with universal acclaim.
Before Tyrion can face his long-dreaded trial some interesting political machinations appear on-screen first. Varys, who has been inactive for much of the season, tells Oberyn how his lack of romantic desires - even pre-castration - allowed him to focus on bettering himself in the wider scheme of things. Then there is a small council scene featuring Tywin, Pycelle, Mace Tyrell, and Cersei - along with Varys and Oberyn. Welcome mention is made of Daenerys, and also of the Hound being a rogue element since Blackwater. There is also a reminder of Jorah spying on his Khaleesi for the late King Robert which becomes important eventually.
At last former 'Hand' Tyrion is brought into the courtroom bound in chains but appearing to not be one to meekly accept a sad demise. He is formally charged with regicide and must accept his own father is doing his best to make the trial damning for him. Nonetheless he cross-examines Ser Meryn on his evidence but is told to maintain silence by Tywin. Later on he requests just the one question of Varys concerning a conversation they had. The answer perhaps is a rather neutral one but Tyrion can't blame the eunuch for looking out for his own interests first. However the testimony of Tyrion's unhinged sister Cersei certainly is ominous. Tyrion is portrayed as malicious in his method of defending King's Landing from Stannis' forces. The actual facts cannot be disputed. He placed Joffrey at the vanguard of the city's defence - having previously told the Queen Regent that her 'joy will turn to ashes in [her] mouth'. Of course we all know how boisterously Tyrion's nephew declared his intentions of cutting Stannis down personally, but that is glossed over.
There appears some hope for Tyrion when before final proceedings he has Jaime visit his cell with a potential compromise: Jaime will leave the Kings-Guard and resume his status as heir to Tywin, and in return Tyrion can be granted banishment to the Wall for admitting his 'guilt'. However, what seemed like an 'out' for the defendant is dashed to the rocks when Shae of all people sells him out - and also demeans their truly heartfelt romance.
This leads to possibly the best ever speech in a show full of quotable material. Peter Dinklage has not been called upon to do his very best work more recently, but the brazen confession of 'being a dwarf' and declaring his right to trial by combat is truly majestic. Fans of the show are all too sympathetic with Tyrion for brilliantly outwitting Stannis in combat and can only smile when he unleashes a terrific insult towards the city's inhabitants wishing that they perished after all.
'Mockingbird' is the very best episode all-round this season; featuring first-rate acting and character development.
Tyrion receives a trio of significant visitors who each care for him to some degree: his older brother, then Bronn and finally the effervescent Prince Oberyn. This is his time of greatest need for someone to lift his spirits and these scenes are very intimate and moving for such an epic fantasy show, 'Thrones' doesn't always require money to be put up on the screen for it to cast its spell on the audience.
It is clearly established that despite their firm friendship Bronn ultimately sees the status quo as a Lannister providing him money (and a title) for personal protection. In that regard Tyrion has never taken a risk that compares enough to facing the Mountain. Despite this disappointing and inevitable confirmation, there are no grudges between the two. However were Tyrion to survives into season five there is a sense that these two characters have come to a parting of the ways.
Cersei -typically immoral - forces peasants to try and fight the Mountain to the death with the odds firmly stacked against them. He is a remorseless titan who cannot be brought down with conventional swords or punches, and effortlessly rips the smaller men with his blade. Gregor has been recast twice now but still is an imposing figure that will prove difficult to best to 'prove' Tyrion's innocence. Thus when Oberyn tells Tyrion of his own sense of loss and how he seeks retribution for Gregor' Clegane's murder of Elia Martell and her children the audience is thoroughly spell-bound by the determination of a clear underdog who just oozes personality.
There is a fine section featuring Brienne and Podrick as they continue to bond together. They meet Hot Pie - who previously travelled with Arya Stark - and happens to mention his friend when being told of the search for Sansa Lannister. Brienne has not forgotten her promise to the late Catelyn, who wanted both daughters to come 'home.' A little later on the duo are back to following the trail and there is good character development as Pod's more practical and analytical qualities emerge. He identifies the Eyrie stronghold as the likely place Arya would head and Sansa may also be finding refuge in.
Indeed the Littlefinger/Sansa storyline is developed strongly once again and another relative/ally of the Stark household is silenced forever. Excellent visual work showcases Robin Arryn, Sansa Lannister and Littlefinger congregating in the snowy Eyrie courtyard. Despite having to grow up fast since her betrothal to Joffrey, Sansa still has a childish side to her as she constructs a striking 'snow-castle'. There is a hint of stability in Robin as he enquires about his cousin's handiwork.. until the spoilt and maniacal persona takes full force. He spits out all his dark obsessions about killing people he dislikes through the 'Moon Door' and proceeds to obliterate the snow-castle before stomping off.
Almost immediately Littlefinger provides his brand of comfort'. He kisses Sansa full-on knowing that Lysa is bound to see him, and is rather creepy - more so having called out the word 'children' moments earlier. Littlefinger is one of the smarter villains of the show; he can be as influential as even the most shrewd monarch or regent, despite his lowly roots. Yet he also avoid the spotlight and can stand back as major events envelop the relevant areas of the globe.
In the event it is Lysa that falls prey to the Eyrie's most rapid method of reaching 'ground level'. Littlefinger has secured his position of Lord by marrying and bedding her and now can actually enjoy himself. The climax to 'Mockingbird' features Littlefinger step into the fray as Lysa accuses Sansa of going after her man and threatens her with the full meaning of falling outside. Baelish first reassures Lysa that all is well in their marriage, before crushing her ego by declaring he only ever loved Catelyn. The final push of Lady Arryn to her certain death is treated as a mere formality, and no doubt many viewers cannot help a feeling of 'Schadenfreude'.
The Hound/Arya 'teamup' continues to be supremely enjoyable. Once again longer term continuity is relevant as Rorge and Biter - former prisoners of Yoren - resurface with malicious intent. Sandor Clegane suffers a neck wound, but is still more than a match for his assailant Biter - breaking that neck clean through. Rorge is not the first grown man to underestimate Arya, and pays the price for cruel threat made some time ago; facing the 'pointy end' of Needle. These events are engaging and also make the earlier episode's Small Council meeting doubly effective. Clegane faces steeper odds of living on as a renegade. He doesn't help matters by refusing to have his neck wound cauterised by Arya - such is his vanity.
The eighth installment is somewhat weaker independently. Certain subplots have little relevance overall, and I will not mention them here. Nonetheless the payoff for all the talky scenes is more than satisfying enough. The fallout of Lysa's death is well handed as Sansa places her trust in Baelish and makes him out to be an unwilling witness to Lysa's 'suicide'. Three important nobles with ties to Lysa hold an inquest into what exactly happened, they being Yohn Royce, Anya Waynwood and Vance Corbray. Strong acting helps make these scenes work, as in lesser hands things would feel rather stagey. Littlefinger is the person who gets 'grilled' but Sansa expertly defends him by blending some truth with a selective portrayal of Lysa's irrationality. Now it is obvious that Sansa is a willing player of the game, and will seek further advice from Littlefinger.
The effect of Lysa's 'suicide' also leads to a moment of humour when the younger Stark daughter laughs at the bad luck of hearing of her aunt's death before she and Clegane could claim refuge. Rather oddly it would appear that the two sisters are to miss meeting each other - an echo of the Bran/ Jon Snow 'near-misses'. Then a rather eyebrow-raising moment features Sansa casting aside her dowdy and innocent image by dressing in black clothes that are borderline-risqué, yet complement Baelish's attire as they walk down some steps together.
Although Theon Greyjoy fell down a slippery slope making redemption near-impossible the saga has made him into a tragic and pitiful protagonist with a major part left to play. The systematic emasculation - in all senses - of last year has paved the way for a shell of a man who is now an agent of the vicious Boltons. Dark humour sees Theon imploring his fellow Iron Islanders to surrender peacefully from their base of Moat Cailin. Of course there is no mercy from sociopath Ramsey and the bastard of Roose gleefully reminds Theon of 'tradition' as he pokes one of the dead flayed soldiers in the chest.
For those viewers that grew to like Ygritte as she bonded with Jon and later spared him from fatal harm, recent events have perhaps portrayed her as rather cold-blooded. Again chaos ensues as the workers and clients of a brothel/ pub are attacked by her core group of Wildlings and the Thenns. Nonetheless Ygritte shows spares a single mother and baby. We of course know these two survivors - they are Gilly and the infant she conceived with Craster. Sam's carelessness in depositing his female friend will not be punished on this occasion and one wonders where next Gilly will reappear.
Although I have mixed feelings about the Daenerys storyline I will praise the long-running dynamic between her and Jorah. Despite all Mormont's best efforts in trying to get her to reciprocate his feelings for her, he will always simply be an 'uncle figure'. But now comeuppance for lying to her has arrived, with a pardon-scroll from the late Robert Barretheon reaching Meereen - and Selmy has intercepted it first. Barristan Selmy allows Jorah to prepare for the inevitable by giving him notice of the truth being divulged to Dany. In the event the queen chooses to banish Mormont instead of executing him. The sequence as he departs the city into the unknown is suitably disheartening, not least because Iain Glen is a classy actor.
As Jaime comes to see Tyrion potentially one last time, the younger of the brothers reveals his regret in making his rather impulsive decision. Although Oberyn has a just cause and a reputation for fighting smart and decisively the odds seem poor. Then a rather unexpected conversation ensues where the brothers' late relative Orson is mentioned - unsurprisingly he was yet another sadist who smashed beetles for fun. This conversation threatens to slow the episode down, yet it demonstrates the show's willingness to portray the unusual bond between two very different Lannisters.
Martell prepares himself for the deadly fight, rather bizarrely choosing to wear minimal armour, eschew a helmet, and take a good gulp of wine. Tyrion is petrified and yet the opening events would seem to point to an 'innocent' verdict. The well-staged fight simplifies the original book-version somewhat but works perfectly for television - with good reaction shots of those either supporting 'Viper' or 'Mountain'. Just as it seems that the ogreish Mountain is beaten, 'Game of Thrones' reminds us that likeable and/or charismatic characters are still mortal. By standing alongside his fallen and impaled opponent, the 'Viper' allows himself to be brought down suddenly and lose his teeth and eyes before having his head crushed in a horrendous manner. To add further dismay, Clegane makes it clear that he knew who Oberyn was after all and that he enjoyed committing rape and murder. Although the Mountain is close to death himself, Oberyn perished first. Tyrion is now facing imminent execution - but the camera lingers on Jaime looking thoughtful, perhaps hinting at another way out...
The final two episodes of the show will continue to feature the myriad other storylines - including the Bran subplot which has been put to one side for a while now. Having now seemingly played out the bulk of major developments in King's Landing this very impressive epic now has a sizeable task on its hands to do something with the Wildlings/Night's Watch plot thread which has brewed steadily for over two series now. Based on the consistent quality of the eight episodes in this current run, I think I am not alone in being confident about the execution.