Her sister’s scenes open in a similar key: a slow, deliberate bath wet hair streaming into a bowl an antagonistic young woman reciting histories to tease her.
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Not-Jaqen declares that Arya is not ready to give up “her loves and hates,” and all that makes her who she is, but she is ready to become “someone else.” With that hard but compassionate lie, Arya gains admission to the gorgeous and gory Hall of Faces, aka the Leatherface Lounge, where the Faceless Men keep all the corpse faces they’ve been storing up, Princess Momb i style.
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Then Arya gives the girl a drink, and with it, the gift of the Many-Faced God. (The story recalls the one Stannis told Shireen, which makes me wonder how much of that one was a lie, and whether a similar fate lies ahead for Shireen … Given how heavily this season has been foreshadowing future events, I can only say, uch, I’m not ready.) When a man brings his sick daughter to the temple - “She suffers every day of her life,” he tells Arya - Arya begins to weave the girl a tale: She was very sick, once, too she was dying, and her father loved her, so he brought her to the House to be healed by the waters from the fountain. Not-Jaqen apparently knows her better than she does herself, though, because he beats her when she says she hated the Hound and even more viciously when she swears she wants to “be no one” - words she fully believes to be the truth.įairy tales do their business in threes, and with the third biography in the House of Black and White, Arya begins to understand how the Faceless Men wield stories: with a mixture of truths and lies. She invites a beating each time she’s caught in a lie, but she’s learning. She recites her history for him, planting little lies (her father was beheaded, he didn’t die in battle she stabbed the stable boy in the belly, not the back). But she’s starting to pick up the rules by the time Not-Jaqen visits her at night, with a rod. Just like the last time, Arya didn’t even know she was playing the Game of Faces. She looks away, remembering the pain, but smiles a little, conspiratorially, as she tells Arya how she went to the Faceless Men for help “and my father was widowed again.” Arya cracks a little grin in return.Īpparently the House of Black and White is like summer camp, where you get hazed via a really rough version of Two Truths and a Lie. When she asks where the girl is from and how she got here, the Waif seems to soften, telling her that she was once the daughter of a Westerosi lord, “just like you,” whose stepmother tried to poison her. Frustrated, Arya tries to engage the girl (called “the Waif” in show credits) in the Game of Faces, but the Waif tells her she already tried and failed. 1 - the one the bodies leave from - and is rebuffed by the smug, pale acolyte with Lancel’s old haircut. She tries to find out what’s behind Door No. (I don’t know much about art history, but I do know the GoT designers modeled Braavos after the Dutch Golden Age.) It’s like a rather icky tea ceremony.Īrya may be learning to be quiet and still, like a Faceless Man - just as she once learned to flow like a water dancer - but she hasn’t fully shed her characteristic Arya-ness. The shots here reminded me of Vermeer’s quiet, contemplative paintings of women in small rooms, attending to their work.
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Water is wrung into a bowl from freshly washed hair. The first few moments are all close-ups of her hands and small stretches of flesh her movements are delicate and deliberate. We open on Arya, slowly washing a corpse in the House of Black and White. One is losing her name but gaining her power, while the other gains a name but loses something even more precious.
#GAME OF THRONES SANSA FULL#
Each girl crosses a threshold, their scenes linked through key motifs: gentle ministrations on a naked body, mind games, rooms full of candles. The Stark sisters bookended last night’s Game of Thrones and were given the most compelling moments of the hour (more or less - more on that in a bit).