The Wheel of Time Recap: Battle Flag

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Right from the start, it was evident that this week’s episode of “The Wheel of Time” would heavily feature Perrin Aybara. The title, “Goldeneyes,” added to this assumption. For quite some time, we had witnessed Perrin and his companions preparing for the impending danger from relentless Whitecloaks and their foes – trollocs, darkfriends, and their commanders. Even before the episode started, it was apparent that this would be the episode where Perrin and his group would take their stand.

Battle scenes structured independently, such as the one depicted in “Blackwater,” a standout episode from Game of Thrones’ second season and arguably its most influential hour, can be traced back to this point. (The writer of this episode, Dave Hill, is an alumnus of Game of Thrones.) Screenwriter George R.R. Martin, utilizing his own source material, crafted a masterful blend for director Neil Marshall (The Descent) that included a gradual escalation of tension, an uneasy camaraderie, unexpected character developments, and action sequences of breathtaking scale. The colossal green wildfire explosion in Blackwater Bay is an image I’ll never forget.

In the episode titled “Goldeneyes,” Perrin’s standout showcase, nothing quite reaches the same level of depth or impact. This might be due to the fact that Perrin and his ensemble of secondary characters are less captivating compared to Tyrion Lannister, The Hound, Bronn, and others in terms of character development and screen presence. Notably, among Perrin’s main group – himself, his warrior girlfriend Faile, his giant Ogier friend Loial, Loial’s Aiel spear-maidens Bain and Chiad, his rival Dain Bornhald, the townsfolk, and others – only a few characters such as Perrin, the mourning Aes Sedai Alanna, her Warder Maksim, have been developed in terms of their emotions like desire, joy, and pain. The rest seem to exist primarily to support the main character.

The fact that the episode functions successfully demonstrates the growing assurance with which showrunner Rafe Judkins and his team handle their material. Gone are the early days of production during the COVID pandemic, with its limited shooting schedules leading to fights that seemed like a few extras wearing similar costumes and using identical props. The way the major battle kicks off – during daylight, making allies and enemies easily discernible on screen instead of being obscured by the dark, glossy backdrop typical of streaming TV shows – is a clear indication that Wheel has found its stride.

As a dedicated fan, I can tell you that when those ominous Trollocs and Darkfriends surge over the barricades, defiantly challenged by Perrin and his resilient townsfolk, their approach is as unmistakable as daylight. What follows is equally clear: the courageous actions of the Two Rivers people, the extraordinary assistance of Alanna and the local channelers she connects with to empower her frost-filled assault on the enemy – it’s all laid bare for everyone to witness.

Just as evident is the layout of the battlefield, a crucial aspect in effective combat filmmaking traced back to Helm’s Deep and The Two Towers. Perrin, Alanna, and their companions have restricted the entry points to the village to only one – a narrow mountain pass that’s simple to guard. However, when overwhelming numbers and the temporary incapacitation of Alanna make their position precarious, they withdraw to the town gates and walls. When these collapse, they retreat to the town square, adopting an ancient phalanx formation and defending from all directions.

In every instance of the fight, it makes the importance of winning the battle evidently clear. Victory means maintaining our position, while defeat necessitates retreating until there’s no more ground to give up. The physical consequences of victory or loss in a fight play a vital role in creating convincing combat scenes, and this week, Wheel manages to meet that challenge effectively.

However, just as crucial are all these preliminary events. Maksim playfully banters with Alanna about their impending demise. Perrin attempts to coerce Faile into departure, and she responds flippantly, “Oh, really?” Loial intentionally plays a bloody version of Maiden’s Kiss to free the Aiel from his bonds, but instead, he unwittingly strengthens those ties even further. The Cauthon sisters chuckle as they practice their magic, eager for the moment when they can hurl fireballs. Although it may not be as intense as the Hound and Bronn squaring off in a tavern with women on their laps, it certainly holds its own appeal.

The fight itself is close to becoming a disaster. Although Perrin’s strategies, defended by just three professional soldiers from the entire village – Faile, Bain, and Chiad – manage to hold strong for quite some time, the good guys are betrayed from within. When Dane, the head of Children of Light, swallows his pride and consents to aid the villagers in exchange for Perrin’s surrender at the end of the battle, he is caught off guard by spies within their ranks, headed by Padan Fain – a minor antagonist from season one. He had been leading a group disguised as Children of Light, and they attack their former allies at the most inopportune moment.

However, Perrin deduces a secret plot. The trollocs, known for their chaotic attacks, are now fighting in armor and with a clear strategy. He suspects they’re being controlled by someone or something. When he eventually captures Padan Fain, he learns the truth: Fain is masterminding the attack using magical powers. Perrin decides to spare this notorious darkfriend’s life, hoping he’ll call off the invasion in return. (I suppose scholars of Robert Jordan might have insights into why simply killing such an evil character wouldn’t solve the problem.)

He smashes the floating bridge leading to the gate, causing it and him to fall into this dimension’s bottomless abyss. Here’s a toast to the big guy.

In this episode, it’s not just him who dies as a significant character. The detestable Eamon, who has been trailing Perrin and his group since the beginning, meets a gruesome end by being burned alive by the formidable Cauthon sisters. It’s worth noting that Alanna finds amusement in his screams of pain as the fire devours him. This scene underscores the ruthless nature of battle.

During their stay, a peaceful group known as the Tuatha’an, who resemble Irish Travelers, have also taken shelter in the village. Perrin is relying on these non-combatants to evacuate the children to safety, which they manage – albeit with a trolloc (a creature that runs on all fours and resembles the Zuul dogs from Ghostbusters) hot on their heels. Aram, one of the Tuatha’an men, takes the beast’s knife and slays it, breaking a strict rule against violence in front of Ila, their leader. As a result, he is no longer welcome within the group. However, luckily for him, there is an opportunity for him to work as a blacksmith in the Two Rivers.

In fulfillment of a promise he made to Dane earlier, and with pride evident on his face, Perrin voluntarily surrenders to the Whitecloaks. Despite being escorted away in handcuffs, the crowd continues to cheer for him, recognizing him as Lord Perrin Goldeneyes, a symbol of the ancient kingdom of Manetheren that once stood there. Alanna often speaks of how the locals share the blood of this noble lost realm. Perrin’s self-sacrifice serves as a testament to her words. In fact, they create a new royal banner with a wolf’s head as a symbol in his honor.

From a personal standpoint, I’m deeply captivated by fantasy battles. The memory of my heart racing when I watched Braveheart is still fresh, as it was the first time I witnessed something akin to what I had imagined while reading The Lord of the Rings. Therefore, episodes like this one bring me immense joy, particularly those that meticulously explain the events and their significance. Notably, there’s a scene in the town square where Faile plays a significant role. This sequence is remarkable as it showcases each kill in a continuous shot, giving the audience ample opportunity to admire the intricate fight choreography and the visual and practical effects used to amplify it.

It’s possible that the real intention of the hour is to lend credibility or prestige to Perrin Aybara, as wrestling enthusiasts call it, and Marcus Rutherford seems to be the character I find hardest to understand within the main cast. His mumbled delivery works well when he plays a grieving husband who accidentally killed his wife while trying to save her, but it’s less convincing in the role of a werewolf leader whose followers create flags and insignia for him. However, if you portray him as a reluctant warrior striving to win in order to surrender to the Light’s justice, his monotonous tone becomes more comprehensible.

When the dust settles, what puzzles me most is how they’ll conclude all these threads with only one episode remaining. To be honest, I can barely summarize everything happening now, let alone fit it all into a finale. The search for Liandrin and the Black Ajah, Rand transforming into the Aiel prophet, Egwene and Moiraine dealing with their own issues, multiple Forsaken in the mix… It seems like an awful lot to fit into an episode, even if it’s extended.

I’m fine with the series deviating for an episode to delve deeper into a specific character. This is one of the strengths of the show, as it provides depth and enriches its multi-character narrative. The Wheel of Time can endure, and with more episodes like this, so will the series.

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2025-04-10 17:54