Game of Thrones season 4, episode 7 'Mockingbird' recap. By Alex Mullane Monday, May 19 2014, 5:00pm EDT. Share on Facebook Share on Twitter Share on Google+. Season 4, episode 7 Aired Sunday, May 18 2014 at 9:00pm EDT on HBO. "Yes, brilliant speech," Jaime Lannister sarcastically tells Tyrion in 'Mockingbird'. "They'll be talking about it for days to come.
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" Once again, the show seems to be passing a meta-comment on itself. Peter Dinklage's performance last week gained him plaudits from all corners, and if his performance this week is less bombastic, it still demonstrates what a phenomenal performer he is.
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With an amusing, dramatic rule of threes, the episode is punctuated with people visiting The Imp in his dungeon. Jaime first rules himself out of combat, conceding that he is no match for anyone with his left hand, and later, more surprisingly, Bronn opts not to stand for the friend who dragged him out of the gutter. Bronn has been paid off with an arranged marriage to a dimwitted girl who happens to have a castle behind her - or rather, she will once Bronn arranges for the death of her older sister and heir in a piece of gallows humor that only rougish Bronn could deliver and still remain likable.
And why should Bronn risk his life in combat when he has a comfortable future waiting for him? He and Tyrion genuinely are friends, but here the nature and limitations of that friendship are exposed and laid bare. But there are no hard feelings between the two.
They each understand that it's nothing personal, and they part on good, if bittersweet terms. Dinklage and Jerome Flynn always had a fantastic dynamic – mature, open and realistic - and their parting here was worthy of that. And then, the third visit comes courtesy of Prince Oberyn, who gets to steal the episode by offering to be Tyrion's champion as a means for getting back at both The Mountain, and the rest of clan Lannister. The story he tells about visiting baby Tyrion - which shows that the dynamic between the three Lannister siblings has been in place for a very long time - is a wonderful showcase, not just for Pedro Pascal, but for Peter Dinklage too. Director Alik Sakharov's decision to focus on an extreme close-up of Tyrion as he listens to a humiliating, revealing story about himself - private details that a relative stranger should not know - pays dividends, as Dinklage's face conveys a whole gamut of emotions. Even without uttering a word, Dinklage knocks it out of the park. There's also sterling work between Rory McCann and Masie Williams as The Hound and Arya continue their travels across the country.
While the principal cast deservedly get most of the praise, Game of Thrones tends to have a knack for casting good actors in smaller, guest-appearances. Take Barry McGovern as the dying man whom the pair come across; his appearance was brief, but he brought a melancholy, world-weary quality to his short screen-time that made him, and the trio's discussion about life, death, mercy and the nature of fair exchange, more memorable than it might otherwise have been. This is an episode in which we see The Hound open up more than we're used to. His mercy-killing of the man is a noble action, and later he confides in Arya about the incident that ruined his face. We've never seen him so vulnerable, and it goes to show that McCann is a tremendous actor in earnest, as well as being great at growling profanities.
Elsewhere, we get a surprise cameo from Hot Pie! If you didn't grin with delight at Ben Hawkey's reappearance, then go back and watch it again until you do. It's a sign of how strong the world-building on Game of Thrones is that a minor character like Hot Pie - whose part in the story is likely over - can still show up and help flesh Westeros out (the hilariously short return of Arya's nemeses Rorge and Biter was somewhat less successful…). There's also the introduction of The Mountain Mark III, who is now played by Hafþór Júlíus "Thor" Björnsson, an Icelandic strong-man who is appropriately massive to justify both his real-life nickname and his show one.
Sakharov uses all the old tricks of the camera to ensure that he looks as gigantic as possible, whilst also doing the same to highlight Tyrion's diminutive stature throughout. Jon Snow continues to be frustrated by his superiors up at The Wall, while Daenerys continues to demonstrate that she would be hopeless without her advisors. Her decision to send Daario off to slaughter all of the Masters left back in Yuunkaii is roundly and rightly dismissed by Jorah. She may be bad at thinking her policies through, but she's good at people management: Jorah's face upon seeing Daario leaving her room in the morning is tragic, but Dany's parting line cheers him up no end. Bless.
Dany's decision to sleep with Daario seems almost inevitable at this point, but it's interesting that she seems to do so more for power, than out of any romantic inclination towards him. Sadly, the show's decision to shy away from any full-frontal Daario nudity (even the shot of his rear is likely a stunt-double), feels disingenuous, and is contrasted massively with the extended "sexposition" scene that follows with a nude Melisandre.
On the whole, nudity in Game of Thrones is not a problem - and Mel's nudity here informs a lot about her character, and particularly, about Selyse's given her conflicted reactions to it - but this is a stark reminder that the balance between men and women showing their stuff is hugely out of whack. The Melisandre scene is interesting; in that it reveals that at least a proportion of her mysticism and magic is simple trickery. While we know all-too-well that she has powers - giving birth to shadow-assassins is not an every-day feat - knowing that a lot of her religious persona derives from simple chemistry tells us both what a street-wise woman she is, and also calls into question just how much we should buy into some of her theatrics going forward.