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I decided to read all of Shakespeare because of how much George loves the history plays, and to understand all the Shakespeare references in the text, and also because of this excellent post (and for other more noble reasons, but I can't lie and pretend ASOIAF isn't a big factor)
Anyway, if you like these books and want to read a Shakespeare play, here's a quick cheatsheet from my reading so far:
If you like prophecies, witches (especially Maggy the Frog), and Cersei's relationship with self-fulfilling prophecies, read Macbeth.
If you are interested in how Littlefinger's formative rejection and pain over being looked down on by virtue of his birth propelled him into creating an elaborate, tragic scheme to take down those who have wronged him, read Othello. You're gonna love Iago!!!
If you like the general ambiance of the Riverlands plot where people are running around kind of confusedly in the woods with fun banter (I'm specifically thinking of Lady Smallwood and the Brotherhood), read A Midsummer Night's Dream.
If you're interested in the lead up to Robert's Rebellion, Aerys's reign, and kingship in ASOIAF, read Richard II.
If you like when Jaime and Brienne argue with each other romantically, try Much Ado About Nothing.
If you like Arya's Braavos plotline (well, not the assassin parts, but the ambiance of Braavos) and how Jaime and Cersei pretended to be each other as children, read Twelfth Night.
If you like Dunk and Egg and want to explore the idea of a prince being raised outside of court among the common people AND/OR you like how George deals with honor thematically, read Henry IV parts 1 & 2.
when arya gives water to the dying karstark men in ASOS, it’s one of the clearest moments that shows she’s growing into a leader. she instinctively steps into authority, and her disgust at the violence inflicted on those men immediately leads the BWB to choose to end their suffering, while not even needing to issue commands.
she’s leading the very men her father once sent out to do justice, an action that in itself led the mountain to start terrorising the riverlands. she’s trying to right the wrongs being done to the smallfolk as a direct result of the war her mother and her brother are participating in. and in the process, she chooses mercy over senseless vengeance even though the men in question were the worst of the worst. this is arya acting as ned, catelyn and robb’s narrative heir.
and once she returns to the riverlands, she will choose mercy again, which will be highlighted in her confrontation with LSH, who is herself terrorising the riverlands in the name of vengeance. and after LSH’s death, arya will be the one to unite the people of the riverlands in a way neither ned, robb, nor catelyn ever could, just like nymeria united all the wolves of the riverlands into a single pack.
arya is poised to assume leadership of the BWB, reintegrating them into society and restoring their original purpose as protectors of the smallfolk. she is poised to lead the people of the riverlands, who have suffered more than anyone else in these wars, and she knows it all too well. and in doing so, she will repair the damage left by ned, robb and LSH/catelyn. she will keep her people safe.
we find out in s3 he had an older brother who died (presumably as a victim of The Game). when bodie says “I feel old” in s4 and the implication is he’s older than his brother ever lived to be. COOL
Except that Rafe dies for Dunk’s development, and then we move on to Arlan. Sure, you can find nuance in it, but that doesn’t stop it from being an overused trope
thank you for this anon, I've wanted an opportunity to talk about this and you've handed it to me on a plate <3
i'm going to attempt to explain why I didn't find Rafe's depiction & death deeply egregious nor misogynistic and I hope that you'll read this in enough decent faith not to immediately revoke my feminist card for attempting to defend some of it.
Key Context: Women in the Refrigerator
the origin of 'women in the refrigerator', or 'fridging', is in comics. it was originally coined by Gail Simone, in reference to a comic character whose girlfriend was found stuffed in a refrigerator. In a 'women in the refrigerator' list, the following is written:
Not every woman in comics has been killed, raped, depowered, crippled, turned evil, maimed, tortured, contracted a disease or had other life-derailing tragedies befall her, but given the following list (originally compiled by Gail, with later additions and changes), it's hard to think up exceptions [emphasis mine]
two things, thus, we should consider, when considering whether a dead woman is fridged:
tone: how brutal is the death? are the violent, dehumanising actions towards women gratuitous, revelling in the atrocity and violence of it all? are they otherwise out of place tonally in the work of fiction? is shock value the key part?
equal treatment: are men also liable to be victims of brutal violence, framed as tragedy? are women exclusively treated this way, or if not exclusively, notably more likely to be treated in this manner?
in addition to this, the key aspect you're referring to:
male character development: to what extent does the character's death motivate the male character? to what extent does the character's death change the male character? are there any other characters who die for the male character's development, and are they women?
i would also further consider the following factors:
volition & narrative (in)dependence: to what degree is the female character being killed a character in her own right? does she exist solely in the orbit of the male character? does she drive the plot along herself without his help? does she have any volition or control over her fate, is it something she herself triggers by her own actions?
relation & paternalism: patriarchal society often consider women only of value if they are wives, mothers, or daughters, which under a patriarchal logic exist in service for men. to what degree does this character fit these roles? bonus: if it's romantic, how shoe-horned and badly paced is the romantic plot and how lacking is the chemistry?
legacy: how much does this female character exist in the world? how much impact does her death have? is the death cheap, forgotten about, simply a cause for initial man pain? does she have an impact on anyone outside of the male character?
i think these factors help us distinguish between exploration of a man's grief - which, if you've ever been unfortunate enough to lose a parent or a sibling or a loved one anon, you'll know will hit you hard regardless of gender - and the case of a paper-thin, stock-trope character being put through the plot grinder just to make the male character's character arc take off. fundamentally, we need to make this distinction, because women are allowed to die (especially in game of thrones, where all (wo)men must die), men are allowed to have feelings about their deaths, and that itself a sexist narrative does not make.
I'll look at these factors in the case of Rafe below and make an argument for why I don't think it's as simple as her being fridged or disposable.
Tone, Misogyny, and Sexual Violence: GoT vs. AKOTSK
This is Game of Thrones. Sort of. AKOTSK establishes it's not quite the brutal blood-sex-and-violence fest the audience might expect in episode 1: firstly with the 'shitting' joke, and then with the 'Ashford chair' bit. Perhaps most importantly, Game of Thrones was gratuitous with its violence and also deeply misogynistic in how it hurt women, and revelled in the death of 'innocent' women. It raped female characters, notoriously Sansa, for shock value and to force character development, and had a teenage Daenerys raped repeatedly in S1 as part of a romance. It brutally killed Shae, a sex worker - who as a group suffer shockingly high rates of murder, rape, and abuse from the hands of clients - in a brutal way for Tyrion's development. Arguably, every female love interest of Jon's died for his development. GoT not only showcased sex, violence, and sexual violence, but was notorious for revelling in this, even.
AKOTSK might exist in the same world, but it takes a different approach.
Don't get me wrong: we're still in the world of Westeros. A feudal patriarchy where all men (and women) must die - and often brutally, as victims of war (which we see straight away in the flashback), to the extent that sex workers compare their sale of bodies to desperate hedge knights who risk injury to their bodies in the name of lords for coin. But in AKOTSK, sex workers exist outside of brief full-frontal montages of seedy dens of scum and villainy, without shying away from the profession, and are named. Sexual abuse, particularly incestuous abuse, is something the narrative treats fairly seriously -- Egg shows several signs of being subject to CSA, and while Raymun might snort at Egg, Dunk's pointed look suggests otherwise; indeed, in the trial, Dunk's swipe at the joint between the crotch and the upper leg in Aerion's armour feels like a gesture at this abuse.
This is a world of the powerful and the powerless, where those vindictive few will abuse their power and take out it out violently on anyone who defies them - but it's not something the text revels in.
I'd argue Rafe's depiction is consistent with this established tone.
For one, we're shown the brutality of this world from the outset in this flashback. Rafe is not the only victim of this segment: in its introduction, we watch a nameless man die, crying for his mother, ingloriously, stuck beneath a horse - his death serves to showcase Dunk's mercy and Rafe's opportunism, as well as how Dunk follows Rafe. The violence we're then introduced to in Flea Bottom is immediately contrasted to that of the highborn, with the Blackfyre Rebellions being compared to a Flea Bottom murder (prompting the audience to further compare to the Trial of the Seven, which is as muddy and inglorious and lacks the pageantry of a joust).
Rafe's murder, a vengeful strike by a vicious and corrupt gold-cloak who is angry that she dared steal his knife after he played with her hair, after they had taken her coin purse, fits the logic of the world established - of both Flea Bottom and of the highborn (who aren't all that different to this slum). It has thematic resonance, it showcases how the corrupt abuse their power. It adds weight to the themes of justice in the story.
For two, consider the particularities of how Rafe dies. We see the power-abusing gold cloak gesture at her hair - aware, suddenly, of her gender, indicating an interest in sexual assault, but absolutely no more than that. We do not see Rafe raped on screen. We do not even see her clothing torn or an attempt. This gestures to the possibility of sexual assault, and allows the audience to draw connections, similarities and differences, to Tanselle - and I would argue there's more differences, more on that later. But again, it has wider thematic resonance to the story as a whole and is not simply just a source of man pain for Dunk.
Her death, with the blade she stole being used to slit her throat, is one any might get in a street alley fight, and not particularly gendered in its manner. It is violence against women - but this is part of the injustice set up in this world, and I don't think that alone makes it fridging. It serves a wider narrative purpose, both highlighting themes of justice and vengeance, but also themes of class, as by having Rafe's death in the same episode as Baelor's, we deliberately contrast the two.
It is worth pointing out at this juncture, that Baelor's death is arguably gorier than Rafe's, more gruesome to watch, and Dunk cradles her body much like he does Rafe's. There is not only a consistency here, but a political message: Rafe is as worthy as Baelor to mourn, as worthy as Baelor to weep over. The life of a working class girl matters as much as a prince of the realm's - again, this death isn't just about Dunk's development, but has thematic consequences more broadly.
Equal Treatment: All Men Must Die
As indicated above, Rafe is not the only person who dies in this episode. In fact, arguably the gold cloaks who assault Dunk and Rafe get far more gruesome deaths. One gets his head sliced off, which becomes feed for pigs, and the other gets stabbed in the neck - a mirroring of what he has done to Rafe. Meanwhile, we don't lose sight of Rafe -- we hear a lot of this occur, rather than see it, as Dunk is cradling Rafe's head as she dies, and as a result her death isn't a background detail during a sequence of shock violence.
Rafe's death isn't the only with narrative weight and character development consequences for Dunk either. Baelor, as noted above, dies in a brutal manner - having lost part of his skull - in a scene that's arguably far gorier than Rafe's (I personally screamed when I saw it, and I watch The Pitt weekly, it's not as if I'm unaccustomed to injury gore).
More than that, Baelor's death also has profound consequences for Dunk's future direction. In the flashback, Dunk follows Rafe's direction - to scrape a new life together in the Free Cities - regardless of his misgivings and fears. In Baelor, Dunk similarly pledges himself to follow, to become someone else's man, despite having disagreed with him openly the episode before. Both deaths mark a new chatper in Dunk's character development, and similar to Rafe, Baelor's death will prompt Dunk to take to the life of a Hedge Knight, as someone who works independently.
In fact, The Hedge Knight / AKOTSK S1 is full of people - largely men - dying to further Dunk's character development. The plot is propelled with Ser Arlan's death at the beginning of the show, where we see Dunk bury him in the first scene. AKOTSK makes pains to show Ser Arlan's impact throughout the show, ensuring this isn't tokenistic but holds weight.
Personally, I take greater issue with the fact that there's two whole other men who died in the trials - both the Humfreys, i believe - who aren't really even introduced or shown or given space on the screen. AKOTSK isn't without fault, and I've felt its introduction of side characters - while fun - is often unbalanced. I don't think Rafe falls into this category, as her death has thematic relevance and resonance and I think rewatching this season, certain events will hit with a new quality knowing that Rafe lives on in Dunk through the actions he takes (though arguably, he always had that good in him - see his mercy at the beginning, Rafe did not 'make him good' or anything near as simplistic).
In any case, all of this paints a picture that stands in contrast to 'women in the refrigerator'. Women are not uniquely punished in AKOTSK's universe, not uniquely subject to violence and gratuitous endings that remove them from the narrative. While they're subject to patriarchal violence and face unique challenged - which is gestured at, before Rafe's murder - violence against women is not something the camera is fixated on. We see men die brutally, and we see several men die for Dunk's character development. Rafe is not the rule, but the exception.
Just a 'girlfriend'? Who is Rafe anyway?
It is typical, in 'women in the refrigerator', for fridged women to be mothers, wives, daughters. They're objects of man pain, provoking men's call to actions - and under patriarchal logic, these women are often subject to a paternal concern. There's a tendency to look skeptically, then, when a partner of a woman is killed - and I think in the GoT show universe, I understand this skepticism, given how Jon Snow's partners both end up dying in his arms.
I think part of the reason Rafe is considered 'fridged' arises from the fact that Rafe has been perceived by some as a 'made up girlfriend' who has no origins in the novellas. This isn't quite true.
In The Mystery Knight, the third novella in the Dunk & Egg series, Dunk thinks briefly about his friends from Flea Bottom: Pudding, Ferret, and Rafe. They are described as such:
Dunk had seen such sights before. "Back in King's Landing when I was a boy, I stole a head right off its spike once," he told Egg. Actually it had been Ferret who scampered up the wall to snatch the head, after Rafe and Pudding said he'd never dare, but when the guards came running he'd tossed it down, and Dunk was the one who'd caught it. "Some rebel lord or robber knight, it was. Or maybe just a common murderer. A head's a head. They all look the same after a few days on a spike." Him and his three friends had used the head to terrorize the girls of Flea Bottom. They'd chase them through the alleys and make them give the head a kiss before they'd let them go. That head got kissed a lot, as he recalled. There wasn't a girl in King's Landing who could run as fast as Rafe. Egg was better off not hearing that part, though. Ferret, Rafe, and Pudding. Little monsters, those three, and me the worst of all. His friends and he had kept the head until the flesh turned black and began to slough away. That took the fun out of chasing girls, so one night they burst into a pot shop and tossed what was left into the kettle.
So long as he was armed and horsed, he would remain a knight of sorts. Without them, he was no more than a beggar. A big beggar, but a beggar all the same. [...]. Better a beggar than a thief. He had been both in Flea Bottom, when he ran with Ferret, Rafe, and Pudding, but the old man had saved him from that life. He knew what Ser Arlan of Pennytree would have said to Plumm's suggestions. Ser Arlan being dead, Dunk said it for him. "Even a hedge knight has his honor."
In the novellas, Rafe, then, was a canonical character. We would presume a boy, given Rafe is a masculine name (it has the same origins as 'Ralph'), though Rafe is never referred to by he/him pronouns. Rafe is clearly part of the crew Dunk was part of, someone who took part in amoral actions - thieving, desecration of the dead, scaring girls - albeit in a boyish manner, here.
The adaptation has changed a few details beyond gender - notably, it makes Dunk far less passive, as he chose to follow Ser Arlan of his own volition and was not given an offer to leave. To do this, it has killed off Rafe - meaning Dunk is aimless, and has to find another path for himself by himself. This makes sense from a writing standpoint: Rafe's role in the story is over, Dunk needed to be cut off from him, a death is an easy way to do this while also tying into a broader narrative about vengeance, justice, and what it means to be a 'knight'.
The change in Rafe's gender adjusts little of her character itself. Rafe is still cut-throat, somewhat mercenary, wanting to ransom a dying man to coin, willing to steal twice from a vindictive goldcloak - a thief, as Dunk's flashback indicates. Her clothing isn't particularly gendered, and her long hair needn't be indication of gender either in a universe where that is a common style for men. She is Dunk's peer, who steals and loots alongside him, who is not set apart from him like men and women often are socially. Why do people think she's Dunk's girlfriend, or a love interest, then?
Some of this conflation likely has to do with Tanselle, Dunk's brief, unrequited love interest in S1. While her looks have some similarity to Tanselle's, her actions do not -- while Tanselle did nothing wrong, and was an innocent victim, Rafe stole from the goldcloak and the retribution was disproportionate, and was a perpetrator of a sympathetic crime. Tanselle was also threatened with violence far exceeding her 'crime', but Dunk notably was able to intervene in a way that he could not for Rafe; in this, Ser Arlan sets an example of how to act 'in the name of the mother', but beyond that Rafe and Tanselle could not be more different. This is not to deny any connection - there absolutely is - but complicate the matter. The women in Dunk's world aren't just innocent 'damsel' archtypes but also scrappy thieves, desperate slum-dwellers who do wrong just because they're trying to scramble their way out of poverty. Rafe then stands in contrast to Tanselle to show what 'the innocent' that Dunk tries to protect could be, and who is worthy of protection by a knight (even though, as established, Rafe isn't innocent - even though, arguably, the true villain here is as much the brutality of feudal patriarchy in the wake of selfish succession wars as it is our mean goldcloak). In this, she broadens Dunk's world to one which women aren't just love interests, and where Dunk's motivators aren't just maidens or male peers.
You might object, here, with the dialogue in the flashback, 'I love you':
let's look at the whole dialogue for a moment:
R: Is it enough?
D: It's enough.
R: Hey. Don't lose your nerve now. The shit part's done. We'll be sailing off into all kinds of adventures. Don't you want that?
I do. I just...
R: What?
D: What if the Free Cities are no better than here? What if they're worse?
R: Then we'll go some place else.
D: What if it's all place? Every place. What if this is the best there is?
R: That would be quite sad.
D: And what if my mother comes back for me? I'm not stupid, I know she's dead. But what if she's trying to get away from wherever she is. Like we are? If I leave, how will she find me?
R: You are fucking stupid sometimes. If your mother is alive, she's not coming back for you.
D: You don't know that.
R: I know I never got nothing by waiting around. You want a family? Go out there, get a family.
D: I just want to be with you.
R: Cause you love me.
D: Yeah.
R: Well... I love you too, don't I? And I'm going. So, you best be coming with me.
[R moves to hold D's hand]
R: This city is too small for us Dunk. Let's show us her arse.
There's a lot to unpack in this conversation, but i think part of the reason I object to Rafe being squared so firmly away into 'disposable girlfriend' as a trope is just how much it moved me? Rafe's concerns extend outside of romance, motherhood, crushes, etc. She's far more concerned with material security, with seeing the world, a sense of adventure - the overwhelming impression is we see a girl who's become tough & defensive in response to the harshness of the world, who still holds onto dreams regardless. There's a lot to her, and it's not all about Dunk (in fact, it's barely about Dunk).
Regarding the 'love' in this dialogue itself, it's clear that love has a lot more to do with family - both in how the characters are position, oppositionally, without any lingering looks or tension as would be expected in a romantic dynamic, but also literally - 'get a family', Rafe instructs Dunk (and arguably, he achieves this with Egg, years later). When Rafe says 'Cause you love me', her inflection is unserious, almost mocking Dunk for a presumed connection because of their genders. Women and men get married, have children - this is the way of this world, and this is a narrative both are familiar with, and one Rafe is mocking because she likely feels so outside of it given her concerns are about money, escape, freedom. Dunk's genuine, earnest response of 'yeah' is expressed like it's obvious, not something he'd question, but it doesn't contain much romantic longing.
More reasonably to me, it seems that Dunk & Rafe are playing with the idea of romantic intimacy because that's their expected social role, but that's not truly indicative of the love they share. It's found family, yes, but I also wouldn't be surprised if in the AU where Dunk & Rafe stay together, in ten years time we'd see them get together as a matter of inevitability - it is the easiest way of finding a family - and having kids. I'd argue the not-romance-but-not-not-potentially-romance, the blurring of 'sibling' 'partner' 'friend', indeed the malleability of that word 'partner' could be contrasted (though not neatly paralleled) to the way Targaryens also blur those distinctions - to be clear, Dunk's found familyism with Rafe isn't the same as incest, but I think ambiguity is present in both cases, for different ends, for different purposes. Dunk lacks family, Rafe is all he has, Rafe likely occupies multiple roles. There's also an argument of Dunk's submission and dependency on Rafe makes him worse as a person. This is something he acknowledges explicitly in the novella, and is shown on screen if not said aloud by Dunk: Rafe is a thief, a criminal, who does not hold to a code of honour. And similar to his tie to Baelor - Baelor, let us remember, is not interested in overturning the system, Baelor says 'the septons tell us to love our brothers' in response to Egg's allegations against Aerion, and Baelor for all his good intentions has until the trial failed Egg - it's likely that Dunk's subservience to him, if he ends up 'his man', will put him on a worse path (in fact, this is something that happens to Dunk canonically when he becomes a Kingsguard).
All this is to say: Dunk & Rafe are complicated. And they should be allowed to be complicated. They live in a very dangerous world with very little and only really have each other; they're not going to have a relationship that conforms to typical familial or friendship roles. I enjoy the fact that the show doesn't clearly signal them as 'just friends' and allows that ambiguity to exist: it feels more honest to their situation. And I think that authenticity stands in striking contrast to the paper-thin depiction of a cardboard cutout girlfriend who's shanked just to make a woman cry, as is often the case with 'fridged' characters.
In those ten minutes we see her on screen, we see a Rafe that's deeply alive, that has wants, dreams, ambitions - and they aren't about Dunk. They include him, because he's part of her life, but they're not about him. She's allowed to exist beyond him. And I also think that is true in how Dunk is moved: not to be good, Dunk was like that anyway (we see this with the mercy killing), but rather, to be independent, to seek adventure. These are things Rafe wants, things Rafe has dreamed of. Dunk too takes her advice on family. 'I know I never got anything by waiting around,' Rafe tells him - and so Dunk stops waiting. He proactively seeks out Arlan, rather than waiting for that to be given to him. It's this independence, actually, that puts him in good stead, because Dunk's central conflict as a character is not over whether to be good - Dunk is, by and large, someone with good instincts - but whose orders, laws, and rule to follow, and whether that should be broken. If Dunk swears himself to follow a lord, what if that lord asks of him something wicked? Dunk, in this episode, we notice is comfortable with following - he follows Rafe without question, despite his misgivings about his mother and leaving her behind, and later despite his earlier conflict the episode before with Baelor, swears himself to Baelor without a second thought. Independence, then, is an important value for Dunk to foster, as a way of asserting himself, seeing value in himself as an equal, as a way of building his confidence, and it's the lesson Rafe imparts here in this conversation, it's the message he takes most.
All of this to say: Rafe is not Dunk's girlfriend. That's a reduction of who she is, her narrative role, her long lasting impact on the narrative, her own volition and actions leading to the gold cloak lashing out at her, disproportionately, vindictively.
concluding thoughts
This is a long and rambling essay, but I've touched on a few key points here that have been knocking around in my skull since I've seen the episode. but i think the thing i'd like to underline is that it's fine if characters die for other characters' development. it's arguably poor writing if a death has no impact - has no thematic relevance, has no character impact, has no bearing on the plot (all of which Rafe has). Rafe was not invented for this purpose either - she was adapted from the novellas, and while her death was not part of those novellas, it's a logical conclusion that at least one of Dunk's band would have met a grisly end in Flea Bottom. Gutter rats aren't known for lasting long, after all. For a woman's death to die, and touch a man, and have an effect on a male character, is not intrinsically fridging when she's not uniquely punished or disposed of in comparison to men. Especially not when there are four times as many men who die for Dunk's character development in this one season, who die often as brutally, and are given similar narrative weights in the case of Arlan and Baelor.
My last thought would be that I think I actually prefer the version of the narrative where she's a girl, instead of a boy. To me, this speaks to the idea that working class lives are important and meaningful and deserve as much mourning as Prince Baelor, but also that working class girls in particular are as important. When was the last time we saw a working class girl in GoT-verse TV have any kind of impact on the main character to the same extent? I'm struggling to think of any. And I think the adaptational change makes the text richer, in this case. While 'The Hedge Knight' is about a tourney, and principally knights and squires - men then, by design - women are still part of the fabric of the world, women are still valuable and have impact, and not just one singular type of woman either. We have Tanselle, we have Rafe, and we have 'the Mother', mythicised and missing. No, this isn't ideal, and yes, I'd like more (I always want more women in fiction). But I think AKOTSK's decision retains fidelity to the source material, both in content and in spirit, while treating issues of sexual violence and femicide with the respect they deserve, without flinching from the reality of it in this world. Rafe is allowed to live as much as she can in ten minutes and her death echoes forwards and backwards, and reshapes our reading of the source text. I don't think that's shallow and I don't think that's 'fridging', personally.
disco elysium probing around a corpse's soft palate up into his brain with your bare hands to find and retrieve the hidden bullet there while kim kitsuragi watches and says "mhm. keep going" sex scene you will always be famous
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