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Battle of the Bastards
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"Battle of the Bastards"
Game of Thrones episode
Jon Snow facing Ramsay Bolton's forces, in a battle sequence which has been described as one of the series' best.
Episode no.
Season 6
Episode 9
Directed by
Miguel Sapochnik
Written by
David Benioff
D. B. Weiss
Featured music
Ramin Djawadi
Cinematography by
Fabian Wagner
Editing by
Tim Porter
Original air date
June 19, 2016 (2016-06-19)
Running time
60 minutes
Guest appearance(s)
Jacob Anderson as Grey Worm
Gemma Whelan as Yara Greyjoy
Ian Whyte as Wun Wun
Enzo Cilenti as Yezzan zo Qaggaz
Paul Rattray as Harald Karstark
Dean S. Jagger as Smalljon Umber
Art Parkinson as Rickon Stark
Bella Ramsey as Lyanna Mormont
George Georgiou as Razdal mo Eraz
Eddie Jackson as Belicho Paenymion
Rory Mullen as Bolton army captain
Mark Tankersley as Bolton general
David Birkbeck as a Northman warrior
Paul Garrett as a Northman warrior
Episode chronology
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"No One" Next →
"The Winds of Winter"
Game of Thrones (season 6)
List of Game of Thrones episodes
"Battle of the Bastards" is the ninth episode of the sixth season of HBO's fantasy television series Game of Thrones and its 59th episode overall. It was written by series co-creators David Benioff and D. B. Weiss, and directed by Miguel Sapochnik.
In the North, the armies of the eponymous bastards, Jon Snow (Kit Harington) and Ramsay Bolton (Iwan Rheon), face off in a battle for control of Winterfell. The Bolton army defeats most of Jon's force, mostly composed of Wildlings. Sansa Stark (Sophie Turner) arrives with Petyr Baelish (Aidan Gillen) and the Knights of the Vale who defeat the remaining Bolton army. Ramsay retreats to Winterfell, where Jon beats him into the mud, locks him in the kennels and Sansa feeds him to his hounds. In Meereen, Daenerys Targaryen (Emilia Clarke) refuses to surrender to the Masters, mounts Drogon and begins burning the Masters' fleet; this forces them to surrender. Yara (Gemma Whelan) and Theon Greyjoy (Alfie Allen) arrive in Meereen and offer their ships to Daenerys, swearing to help her take the Seven Kingdoms.
"Battle of the Bastards" was praised as one of the series' best episodes, with several reviewers calling it a "masterpiece".[1] Critics described the battle in the North as "terrifying, gripping and exhilarating"[2] and Daenerys's reunion with her dragons at the beginning of the episode as "thrilling".[3] Its eponymous battle took 25 days to film and required 500 extras, 600 crew members and 70 horses. In the United States, the episode had a viewership of 7.66 million in its initial broadcast. It earned Game of Thrones several Primetime Emmy Awards (including Outstanding Directing and Outstanding Writing); the episode was Harington's choice to support his nomination for the Outstanding Supporting Actor. Sapochnik also won the Directors Guild of America Award for Outstanding Directing in a Drama Series for the episode.
Contents
[hide]
1 Plot
1.1 In Meereen
1.2 At Winterfell
2 Production
2.1 Writing
2.2 Casting
2.3 Filming
2.3.1 Battle of Winterfell
2.3.2 Battle of Meereen
3 Reception
3.1 Ratings
3.2 Critical reception
3.3 Accolades
4 Notes
5 References
6 External links
Plot[edit]
In Meereen[edit]
Daenerys Targaryen and Tyrion Lannister discuss dealing with the slaver fleet. Daenerys, Tyrion, Missandei and Grey Worm meet with the Masters, who offer to let Daenerys return to Westeros in return for keeping Missandei and the Unsullied and killing the dragons. She counters that the meeting was called to discuss the Masters' surrender and rides Drogon into the bay with Rhaegal and Viserion and burns the fleet. Missandei tells the Masters that Daenerys has ordered one of them to die as punishment for their crimes. Although they offer the lowborn Yezzan, Grey Worm kills the other two masters instead and Tyrion tells Yezzan to warn the other masters of Daenerys's power. Daario Naharis leads the Dothraki to slaughter the Sons of the Harpy, who are massacring freedmen outside the city.
Daenerys and Tyrion meet with Theon and Yara Greyjoy, who offer Daenerys their fleet of ships in exchange for help in overthrowing Euron and recognizing Yara's claim to the Iron Islands. Daenerys agrees to assist them if the Ironborn will stop reaving the mainland; Yara reluctantly agrees.
At Winterfell[edit]
Jon Snow, Sansa Stark, Tormund Giantsbane and Davos Seaworth meet with Ramsay Bolton and his advisers before the battle. Ramsay offers to pardon Jon for breaking his Night's Watch vows if he hands Sansa over. Jon offers to settle their dispute with single combat; Ramsay refuses, saying that he may be unable to defeat Jon but the Bolton army can beat the Stark loyalists. When Smalljon Umber proves that Rickon Stark is captured by presenting Shaggydog's head, Sansa tells Ramsay that he will die the next day and rides off. Ramsay gloats that he has been starving his hounds in anticipation of feeding them Jon and his advisers.
After Jon discusses the battle plan with Tormund and Davos, Sansa criticizes him for attacking without gathering more men and predicts that Ramsay will defeat them. Jon insists that the army is the largest one possible. When Jon asks Melisandre not to resurrect him if he dies in battle, she says that it is up to the Lord of Light. Davos and Tormund discuss their time serving Stannis and Mance and acknowledge that they may have served the wrong king all along. Davos discovers the pyre where Shireen and the wooden stag he carved for her were burned.
The armies gather outside Winterfell the next morning. Ramsay brings Rickon out and has him run to Jon while firing arrows at him. Jon rushes to intercept Rickon but just before escaping, Rickon is killed by an arrow. Jon charges at Ramsay, who orders the Bolton archers to fire and his cavalry to charge; Davos orders the Stark force to shield Jon. The battle leaves hundreds of Bolton and Stark soldiers dead from hand-to-hand combat and from Bolton arrows, creating a wall of corpses. The Bolton infantry forms a circle around the Stark forces. Although the giant Wun Wun kills some Bolton soldiers, Tormund panics and sends the Wildlings towards the wall of bodies and Smalljon's forces, who easily cut them down. Jon is trampled by the Wildlings but struggles to his feet. The Stark forces appear doomed when a horn sounds in the distance as Petyr Baelish and Sansa arrive with the Knights of the Vale, who smash the Bolton army; Tormund kills Smalljon in the chaos.
Ramsay retreats to Winterfell, followed by Jon, Wun Wun and Tormund. Wun Wun breaks down Winterfell's gates and the Stark loyalists overwhelm the remnants of the Bolton garrison. A mortally wounded Wun Wun is finished off by Ramsay, who tells Jon that he has reconsidered the offer of single combat. Jon blocks Ramsay's arrows with a shield, overpowers and attempts to beat Ramsay to death, stopping when he sees Sansa and ordering him imprisoned, leaving Winterfell once more in the hands of House Stark. Bolton banners are shown falling off the walls and battlements of Winterfell to be replaced by the Stark direwolf. Sansa visits Ramsay after he is placed in the kennels with his hounds and despite Ramsay's insistence that his hounds will not turn on him, they devour him face-first as Sansa walks away, smiling.
Production[edit]
Writing[edit]
The episode was written by series co-creators David Benioff and D. B. Weiss.
"Battle of the Bastards" was written by the series' creators, David Benioff and D. B. Weiss. Elements of the episode are based on the sixth novel in the A Song of Ice and Fire series, The Winds of Winter, which author George R. R. Martin hoped to complete before the sixth season aired.[4] In an "Inside the Episode" segment published by HBO shortly after the episode aired, Benioff and Weiss said that the final battle was primarily inspired by the Battle of Cannae and the American Civil War.[5][nb 1] According to Weiss, "We went back to the Roman fight against the Carthaginians in the Battle of Cannae where the Romans got caught in an encirclement by Hannibal and just slaughtered to the man. We used that as our model".[5] Benioff said, "The 'Battle of the Bastards' becomes incredibly compact. All these men, all these combatants, crammed into this incredibly tight space on the battlefield. You read accounts of the battles in the Civil War where the bodies were piled so thick it was actually an obstruction on the battlefield".[5] Episode director Miguel Sapochnik said in an interview that the Battle of Agincourt was the original inspiration but the concept was adapted to fit budgetary constraints.[6]
Weiss said that they wanted to depict a full-fledged battle, "From the beginning we knew that one thing we'd never had on the show was a true medieval pitched battle where two sides bring all the forces they can into play in some battlefield that's somehow negotiated or agreed upon and they go at each other until one of them wins and the other one loses. This is a staple of human history, and we started to look through film samples of it. There really wasn't one that both made you feel what it was like to be there on the ground and gave you a sense of the geography of the battle."[5] According to Benioff, they also wanted to demonstrate the role luck plays in battle, "Just to feel the kind of randomness of it where there's arrows falling from everywhere, people are getting killed, people are getting trampled by horses, and so much of it is just luck. Jon Snow is a very skilled combatant, but part of the reason he survives this battle is just he gets lucky".[5]
In the "Inside the Episode" featurette Benioff said about Daenerys Targaryen's transformation during the series, "I think Dany's been becoming a Targaryen ever since the beginning of Season 1".[7] According to Weiss, "She's not her father and she's not insane and she's not a sadist, but there's a Targaryen ruthlessness that comes with even the good Targaryens".[7] Benioff concluded, "If you're one of the lords of Westeros or one of her potential opponents in the wars to come and you get word of what happened here in Meereen, you have to be pretty nervous because this is an unprecedented threat. You've got a woman who has somehow formed an alliance where she has a Dothraki horde, a legion of Unsullied, she's got the mercenary army of the Second Sons, and she has three dragons who are now pretty close to full grown. So if she can make it all the way across the Narrow Sea and get to Westeros, who's going to stand in her way?"[7]
Casting[edit]
Iwan Rheon (right) played Ramsay Bolton since the third season but originally auditioned for Jon Snow, currently played by Kit Harington (left). "Battle of the Bastards" has their only shared scenes in the series.
"Battle of the Bastards" was the final episode for actor Iwan Rheon, who had played Ramsay Bolton since Game of Thrones' third season.[8] His first appearance was in "Dark Wings, Dark Words", as a then-unnamed "boy" who helps a captured Theon Greyjoy. Before he was cast as Ramsay, Rheon auditioned for the role of Jon Snow.[9] In an interview, he described learning about his character's fate: "I had received half the scripts, five episodes, then I got the call. They joked, 'Isn't it great Ramsay ends up on the Iron Throne?' As soon as they said that I said, 'He's dead, isn't he?' It's cool. I've had four lovely seasons here. It's been great to be involved with such an amazing show. I think it's kind of right he goes down. Because what else is he going to do after this? He's done so many things. It's justified and it's the right thing to do. It's the right path. He's reached his peak. It's nice for the audience that he goes out on this high, if you will."[8] In that interview, Kit Harington talked about Rheon: "I love Iwan's work. He's an incredibly detailed actor who's created a character who's remarkable and despicable."[8]
"Battle of the Bastards" was also the last episode for recurring character Rickon Stark (Art Parkinson), who had appeared since the series premiere episode "Winter Is Coming".[10] In an IGN interview, Parkinson said that he was tipped off about his character's death: "Whenever I was told that I was coming back for Season 6, before they sent me through the scripts and stuff, they sent me through a ring just to say, 'Listen, so that you don't get a shock whenever you read the scripts, just know that you die this season.'"[10] He continued, "Whenever I came back, I was excited to come back, and the scenes all seemed pretty amazing. I was so happy to re-embrace the character."[10] According to Parkinson, he was sorry that Rickon would die but his manner of death was a compensation: "It was a cool death, and it was always going to be a good death, so at the same time, I was pretty happy."[10]
Another character departure was Smalljon Umber, played by Dean S. Jagger.[11] In an interview, Jagger talked about his casting: "I prayed for it. When I heard I got the part my knees buckled. It was a life-changing moment."[11] Before becoming a professional actor, Jagger dug trenches and worked at a mattress factory to pay his way through acting school and was a professional rollerblader.[11] Ian Whyte also made his last appearance in "Battle of the Bastards" as the giant, Wun Wun;[12] he had played Gregor Clegane during the show's second season.[12] Special-effects supervisor Joe Bauer said about Whyte's casting as Wun Wun, "We wanted a large performer because somebody who would be 14, 15 feet tall would have more weight and mass to move around, and a person who's a normal size would have a very difficult time pulling that off".[12]
Filming[edit]
Battle of Winterfell[edit]
Miguel Sapochnik directed the episode, his third of the series.
"Battle of the Bastards" was directed by Miguel Sapochnik, who had directed the fifth-season episodes "The Gift" and "Hardhome".[13] In an Entertainment Weekly interview before the episode aired, Sapochnik said he was brought on board by Benioff and Weiss after his previous-season success; "Hardhome" won several awards, including Primetime Creative Arts Emmy Awards.[14] About how the episode should be shot, he said: "Every battle on Thrones is unique. I think that's why Benioff and Weiss keep doing them. In the case of 'Battle of the Bastards' – or 'BOB' as we affectionately called it in production – David and Dan wanted to do a thing of spectacle, a strategic pitchfield battle they hadn't had the resources to do back in season 1 or 2. I was particularly interested in depicting both the horror of war and the role of luck in battle." Benioff called Sapochnik's work on the episode some of the best in the series' history.[15]
It took 25 days to film, requiring 500 extras, 600 crew members and 70 horses. Benioff described the difficulty of coordinating horses in battle scenes, which is why they are rarely used except in "big budget war films". Weiss added, "Miguel's really outdone himself. Fully fleshed out medieval battles require a tremendous amount of resources and choreography to get them right. It feels like we're doing something fresh that you don't see on TV and movies very often."[15] Four camera crews were used for the battle scene. The 500 extras were largely the Snow and Bolton armies as Wildlings, archers, swordsmen and spearmen. Each army was trained separately to create off-screen rivalry between the two groups, and visual effects were used to expand the army to thousands.[16] Kristofer Hivju, who plays Tormund Giantsbane, said about the intensity of filming the scenes: "It was pretty intense, actually. When you have 20 people running around getting squeezed together, and you're trying to chop at another bearded guy with a sword, you are not out of danger. You're laying down in the mud, and one wrong step, you won't have a face anymore. It was very intense, and Miguel insisted on making it that muddy and messy. War is not beautiful. Sometimes you see action sequences where battles seem organized. I know that from how the Vikings fought. It's not beautiful. It's hard. It's hard work. We had to shoot moment-to-moment, chronologically. We would shoot one sequence 80 times per day."[17]
The Battle of Cannae, in the Second Punic War, was an inspiration for "Battle of the Bastards".
In an interview after the episode aired, Sapochnik detailed the process of filming the battle and called Akira Kurosawa's Ran an inspiration in shooting the scenes: "I watched every pitch field battle I could find (footage of real ones too), looking for patterns — for what works, what doesn't, what takes you out of the moment, what keeps you locked in. Interestingly one of the things I noticed is that staging of these battles through the years has changed dramatically. Back in the day you'd see these huge aerial shots of horse charges and there were two big differences. First, it was all real — no CGI or digital replication. And second, often when the horses would go down, you can kind of tell they got really hurt. Nowadays you'd never get away with that, and nor would you want to."[6]
Asked about the greatest challenge in filming the battle, Sapochnik said: "Every time we charge the horses it takes 25 minutes to reset all the fake snow on the field and rub out the horseshoe prints. So how many times can we afford to charge the horses each day knowing we need to give time for a reset that's 10 times longer than the actual shot? Another thing was how to make 500 extras look like 8,000 when you are shooting in a field where there's just nowhere to hide your shortfall. It becomes a bit like a bonkers math equation. And finally: How do you get these guys riled up enough to run at each other and get covered in mud and stand in the rain and then run at each other again and again for 25 days, 10 hours a day, without them just telling you to piss off?"[6] In an interview, he said that the single most difficult thing he was asked to depict was "having 3,000 horses running at each other, especially after we discovered that horses cannot touch each other. It’s illegal — it’s a very valid rule about protecting the horses. So the very thing we were trying to do was not allowed. And we only had 70 horses ... [The solution was] you would have one guy run into the frame, and then the horse rider would pull the horse, which means make the horse fall and lie down on its side. Later we would digitally superimpose another C.G.I. horse and make it seem like it had impacted the live one."[18]
According to the director, the scene was filmed on privately owned land in Saintfield, Northern Ireland, and they had only 12 days to shoot. After reading the script Sapochnik came up with a 48-day shooting schedule, which was whittled down to 25 days.[6] The CGI of Ghost, Jon Snow's direwolf, in the episode presented difficulties; he was "in there in spades originally, but it's also an incredibly time consuming and expensive character to bring to life. Ultimately we had to choose between Wun Wun and the direwolf, so the dog bit the dust."[19] Sapochnik said that a crucial scene was filmed off-script. After three days of rain, unable to finish filming as scripted, he suggested a scene in which Jon Snow was trampled and nearly buried alive by bodies; the director described the character pushing his way out as "rebirthing."[6]
Kit Harington compared the "rebirthing" scene to the conclusion of the third-season episode, "Mhysa", with Daenerys Targaryen.
In an interview about the "rebirthing" scene, Kit Harington said that it intended to mirror the Daenerys Targaryen scene at the end of the third-season episode "Mhysa" when Daenerys is held up by freed Yunkai slaves; in "Battle of the Bastards", Jon Snow emerges from the crushing crowd of the battle:[20][21][22] "When the crush starts happening, he slows down, and there's that thing of peace where he thinks: 'I could just stay here and let it all end.' And then something drives him to fight up, and that moment when he comes up and grasps for breath, he is reborn again, which I found weirdly reflective of the scene where Dany is held aloft at the end of season three."[21]
"Battle of the Bastards" was the first episode in which Kit Harington and Iwan Rheon filmed scenes together and met on-screen.[23] Rheon said that he had always wanted to film scenes with Jon Snow: "Anyone who has asked me, 'Who would you like Ramsay to meet?' My answer has always been, 'Jon Snow.' He's the antithesis of Ramsay. They're almost a yin and a yang. They both come from such a similar place yet they're so different. And even though they're enemies, they've both risen so far as bastards, which is almost incomprehensible, and now they're both here facing each other. They couldn't be any more different, yet more similar."[23] In an interview, Harington talked about the fight scene with Rheon: "I actually did punch Iwan in the face twice by accident, which he took really well. He was really nice about it."[24] According to Rheon, "The way I see it, if you don't get hit a couple of times doing that, you're not doing it properly."[25]
Battle of Meereen[edit]
For the Daenerys scene at the beginning of the episode where the three dragons burn part of the Masters' fleet, Sapochnik credited VFX supervisor Joe Bauer and producer Steve Kullback for post-production work:[6] "For this sequence David and Dan said that what they wanted to see was a 'demonstration' of what's to come. So I tried to approach it in the most elegant, epic, big-movie way I could."[6] The director tried to design the shots with relative realism, inspired by footage of World War II Supermarine Spitfires in action.[6] He based the dragon shots on wildlife footage, allowing them to break the frame: "These things should be so big and fast it's hard to keep up with them."[6] To insert Emilia Clarke (as Daenerys Targaryen) into the scene, she rode a "multi-directional, computer-controlled hydraulic gimbal device shaped like the upper shoulders of the dragon"; Clarke was filmed separately in Belfast, Northern Ireland.[6]
"Battle of the Bastards" featured the first meeting of Daenerys Targaryen and Yara and Theon Greyjoy, and Yara's first meeting with Tyrion Lannister.[26] Gemma Whelan, who plays Yara, talked about filming the scene: "Oh my goodness – I was so excited when I saw that I had a scene with those two [Daenerys and Tyrion]."[26] About the dynamic between the two women, Whelan said: "It's clear as the scene plays out that Yara quite likes Dany. We share a lot of little looks and there's some playful language in how we talk to one another – Dany asks if the Iron Islands ever had a queen, and Yara says, 'No more than Westeros.' They recognize the girl-power undertow between the two of them."[26]
Reception[edit]
Ratings[edit]
Game of Thrones just gave us everything we wanted.
Not merely the obvious — Sansa letting slip the dogs of war to turn her sadistic tormenter and the show's biggest villain into kibbles and bits — but everything else was pitch-perfect thrilling, too. We wanted a massive battle that's unlike anything we've seen before, and we got it. We wanted to see Dany's three dragons fighting an enemy all at once. We wanted Theon and Yara to meet Dany and form an alliance. We wanted to see resurrected Jon Snow in action-hero mode. We wanted Davos to get a clue about Shireen. We wanted Jon and Ramsay to have an actual conversation — and for them to fight one on one. We wanted the Starks to reclaim their home. And of course, yes, we wanted comeuppance for Ramsay and sweet revenge for Sansa.
Sure, there was tragedy in "Battle of the Bastards" too — Rickon, Wun-Wun. But can we be honest with ourselves? On some level, we wanted that, too. We don't want a huge climactic episode 9 battle without any loss. That would not be war, and that would not be Game of Thrones.
— James Hibberd in Entertainment Weekly[3]
"Battle of the Bastards" was watched by 7.66 million American households in its initial telecast on HBO, slightly more than the previous week's rating (7.60 million viewers) for "No One".[27][28] The episode competed with game seven of the 2016 NBA Finals.[29] It had a 3.9 rating in the 18–49 demographic, the highest-rated show on cable television that night.[27] In the United Kingdom, the episode was seen by 2.450 million viewers on Sky Atlantic (the channel's highest-rated broadcast that week) and had 0.118 million timeshift viewers.[30]
Critical reception[edit]
"Battle of the Bastards" was praised as one of the series' best episodes by critics and viewers, with Matt Fowler of IGN calling it a "masterpiece."[1][31] Critics cited the size and scope of the battle in the North and Daenerys's scene with her dragons at the beginning of the episode.[1] It has a 98% rating on the review aggregator website Rotten Tomatoes from 50 reviews, with an average score of 9.2 out of 10.[32] According to the site consensus, "'Battle of the Bastards' delivered one of the greatest battle sequences in the show's history, and some savagely satisfying vengeance as well."[32]
IGN's Matt Fowler wrote in his review, "At this point, it seems like the pattern when it comes to the ninth episode of a given season of Game of Thrones is tragic death, amazing battle, tragic death, amazing battle, and so on. And this being Season 6, it was time to land on a phenomenal clash of swords and shields - and 'Battle of the Bastards' certainly delivered." He continued, "Game of Thrones did not disappoint when it came to this season's great northern battle, as Jon and Sansa's differences were spectacularly highlighted in a savagely strong war chapter that saw House Stark overcome huge odds to reclaim their home. Plus, Daenerys got to soar, as her dragons quickly stopped a violent siege with fury and fire." Fowler gave the episode a top score of 10.[1] Jeremy Egner of The New York Times also praised the episode: "As directed by Miguel Sapochnik, who also oversaw last season's terrific 'Hardhome' episode, the lengthy sequence was terrifying, gripping and exhilarating, sometimes all at once, a sweeping display of all the different ways one can die on the battlefield." Egner called Ramsay's death an episode highlight ("Ramsay Bolton's demise was arguably the most eagerly anticipated death ever on Game of Thrones and the show handled it with flair, dispatching him in a poetic, canine-fueled fashion that was no less satisfying for being telegraphed early on"), and concluded about Daenerys's scene: "Daenerys Stormborn had a few words for the slave masters who launched their attack last week. Those words included 'surrender or die' and 'thanks for the ships', as we saw another thrilling action sequence that I believe reunited the dragon triplets for the first time since they were quite young."[2] Myles McNutt of The A.V. Club wrote in his review, "This battle works as a climactic moment for Game of Thrones as a cultural event, selling us on the scale and ambition of the producers and their production teams, all who should be commended for the accomplishments from a technical perspective."[33] According to James Hibberd of Entertainment Weekly, "Was this the show's best episode? It's hard to immediately process that question. Maybe? Probably. It's almost certainly the most exciting hour and had the most jaw-dropping battle sequence we've seen yet on TV."[3]
Ed Power of The Daily Telegraph discussed the episode's refreshing strong-women theme: "Game of Thrones has been justly criticised for employing young actresses as wobbly-wobbly window dressing and, though the toplessness has been dialed back this season, it's still very much a calling card. However there are reasons for suspecting that the series is attempting to make amends – by arguing that Westeros would be far better off with women in charge. Even as Sansa was turning the tide at Winterfell, in Meereen, Daenerys and Yara Greyjoy were striking up a lady bromance – and seemingly rock-solid alliance – for the ages."[34] Laura Prudom of Variety agreed: "After seasons of criticism over the show's misogyny (sometimes earned, sometimes not), it's thrilling to see an episode like 'Battle of the Bastards', where women like Dany, Sansa and Yara — and emasculated men (either figuratively or literally) like Tyrion and Theon — break the gears of war and the familiar patterns of violence by attempting to 'leave the world better than we found it', despite the examples set by the evil white cisgendered men who came before them."[35] According to Sarah Larson of The New Yorker, "Sansa watches calmly, then smiles. You've come a long way, baby. Or she's become a monster, and so have I. The women of Westeros are on the warpath."[36]
Accolades[edit]
The episode received a record six Primetime Emmy Awards, including awards for writing and direction.[37][38][39] "Battle of the Bastards" has been nominated for 32 awards and has won 19.
Year
Award
Category
Nominee(s)
Result
Ref.
2016 68th Primetime Emmy Awards Outstanding Supporting Actor in a Drama Series Kit Harington as Jon Snow Nominated [40]
[14]
Outstanding Directing for a Drama Series Miguel Sapochnik Won
Outstanding Writing for a Drama Series David Benioff and D. B. Weiss Won
68th Primetime Creative Arts Emmy Awards Outstanding Make-up for a Single-Camera Series (Non-Prosthetic) Jane Walker, Kate Thompson, Nicola Mathews, Kay Bilk, Marianna Kyriacou, Pamela Smyth Won
Outstanding Single-Camera Picture Editing for a Drama series Tim Porter Won
Outstanding Sound Mixing for a Series Ronan Hill, Richard Dyer, Onnalee Blank, Mathew Waters Won
Outstanding Special Visual Effects Steve Kullback, Joe Bauer, Adam Chazen, Derek Spears, Eric Carney, Sam Conway, Matthew Rouleau, Michelle Blok, Glenn Melenhorst Won
Gold Derby Awards Best Drama Episode Nominated [41]
Australian Production Design Guild 3D Award for Visual Effects Design Iloura Won [42]
British Society of Cinematographers ACO/BSC/GBCT Operators TV Drama Award Sean Savage, David Morgan & John Ferguson Nominated [43]
Hollywood Professional Alliance Outstanding Sound Tim Kimmel, Paula Fairfield, Mathew Waters, Onnalee Blank, Bradley Katona, Paul Bercovitch Nominated [44]
Outstanding Editing Tim Porter Won
Outstanding Visual Effects Joe Bauer, Eric Carney, Derek Spears, Glenn Melenhorst, Matthew Rouleau Won
American Society of Cinematographers Outstanding Achievement in Cinematography in Regular Series Fabian Wagner Won [45]
2017 44th Annie Awards Outstanding Achievement, Character Animation in a Live Action Production Nicholas Tripodi, Dean Elliott, James Hollingworth, Matt Weaver Nominated [46]
[47]
American Cinema Editors Awards 2017 Best Edited One-Hour Series For Non-Commercial Television Tim Porter Won [48]
Visual Effects Society Awards 2016 Outstanding Visual Effects in a Photoreal Episode Joe Bauer, Steve Kullback, Glenn Melenhorst, Matthew Rouleau, Sam Conway Won [49]
[50]
Outstanding Animated Performance in an Episode or Real-Time Project James Kinnings, Michael Holzl, Matt Derksen, Joeseph Hoback – Drogon Won
Outstanding Created Environment in an Episode, Commercial or Real-Time Project Deak Ferrand, Dominic Daigle, François Croteau, Alexandru Banuta – Meereen City Won
Outstanding Virtual Cinematography in a Photoreal Project Patrick Tiberius Gehlen, Michelle Blok, Christopher Baird, Drew Wood-Davies Nominated
Outstanding Effects Simulations in an Episode, Commercial, or Real-Time Project Kevin Blom, Sasmit Ranadive, Wanghua Huang, Ben Andersen Nominated
Thomas Hullin, Dominik Kirouac, James Dong, Xavier Fourmond – Meereen City Won
Outstanding Effects Simulations in an Episode, Commercial, or Real-Time Project Thomas Montminy-Brodeur, Patrick David, Michael Crane, Joe Salazar - Meereen City Nominated
Dominic Hellier, Morgan Jones, Thijs Noij, Caleb Thompson – Retaking Winterfell Won
Cinema Audio Society Awards 2016 Outstanding Achievement in Sound Mixing – Television Series – One Hour Ronan Hill, Onnalee Blank, Mathew Waters, Richard Dyer, Brett Voss Won [51]
69th Directors Guild of America Awards Dramatic Series Miguel Sapochnik Won [52]
Golden Reel Awards Best Sound Editing in Television, Short Form: FX/Foley Tim Kimmel, Brett Voss, John Matter, Jeffrey Wilhoit, Dylan Wilhoit, Paula Fairfield and Bradley Katona Nominated [53]
Best Sound Editing in Television, Short Form: Dialogue / ADR Tim Kimmel and Tim Hands Nominated
Best Sound Editing in Television, Short Form: Music David Klotz Nominated
Hugo Award Best Dramatic Presentation, Short Form David Benioff (writer), D. B. Weiss (writer), and Miguel Sapochnik (director) Nominated [54]
Webby Award Unscripted (Branded) Episode Featurette Won [55]
British Academy Television Awards Must-See Moment Nominated [56]
Notes[edit]
Jump up ^ In the Battle of Cannae, the army of Carthage defeated a much-larger army from the Roman Republic led by Lucius Aemilius Paullus and Gaius Terentius Varro.[5]
References[edit]
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Jump up ^ Hibberd, James (June 16, 2016). "Game of Thrones: Battle of the Bastards by the numbers". Entertainment Weekly. Archived from the original on August 17, 2016. Retrieved June 19, 2016.
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Jump up ^ Flint, Hanna (June 21, 2016). "Kit Harington REALLY punched Iwan Rheon in that Game Of Thrones battle scene". Metro. Retrieved June 21, 2016.
Jump up ^ Morton, Ashley (June 20, 2016). "Iwan Rheon Knows Ramsay Is One Arrogant Bastard". HBO. Archived from the original on August 17, 2016. Retrieved June 23, 2016.
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Jump up ^ Porter, Rick (June 14, 2016). "Sunday cable ratings: 'Game of Thrones' and 'Silicon Valley' hold steady". TV by the Numbers. Archived from the original on August 17, 2016. Retrieved June 14, 2016.
Jump up ^ Kurp, Josh (June 21, 2016). "The 'Battle Of The Bastards' Ratings Are Impressive, But Lower Than You Might Think". Uproxx. Archived from the original on August 17, 2016. Retrieved June 23, 2016.
Jump up ^ "Top 10 Ratings (13 - 19 June 2016)". BARB. Archived from the original on 18 July 2014. Retrieved June 28, 2016.
Jump up ^ Piester, Lauren (June 19, 2016). "That Might Have Been the Greatest Game of Thrones Episode Of All Time". E! News. Archived from the original on August 17, 2016. Retrieved June 21, 2016.
^ Jump up to: a b "Battle of the Bastards - Game of Thrones: Season 6, Episode 9". Rotten Tomatoes. Retrieved June 20, 2016.
Jump up ^ McNutt, Myles (June 19, 2016). "Thrones stages an epic battle, but to what end? (experts)". The A.V. Club. Archived from the original on August 17, 2016. Retrieved June 19, 2016.
Jump up ^ Power, Ed (June 20, 2016). "Game of Thrones recap: season 6, episode 9, Battle of the Bastards review: Jon and Sansa's bitter spat and Ramsay's brutal sacrifice". The Daily Telegraph. Archived from the original on June 20, 2016. Retrieved June 20, 2016.
Jump up ^ Prudom, Laura (June 19, 2016). "'Game of Thrones' Recap: Women Rule in 'Battle of the Bastards'". Variety. Archived from the original on August 17, 2016. Retrieved June 20, 2016.
Jump up ^ Larson, Sarah (June 21, 2016). ""Game of Thrones": Bastards!". The New Yorker. Retrieved June 21, 2016.
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External links[edit]
Wikiquote has quotations related to: Battle of the Bastards
"Battle of the Bastards" at HBO.com
"Battle of the Bastards" on IMDb
"Battle of the Bastards" at TV.com
The Real-Life Military Strategy Behind ‘Game Of Thrones: Battle Of The Bastards’ at The Huffington Post
[show]
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Game of Thrones episodes
Seasons: 1
2
3
4
5
6
7
Season 6
"The Red Woman"
"Home"
"Oathbreaker"
"Book of the Stranger"
"The Door"
"Blood of My Blood"
"The Broken Man"
"No One"
"Battle of the Bastards"
"The Winds of Winter"
[show]
v
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Directors Guild of America Award for Outstanding Directing – Drama Series
1971–2000
Daniel Petrie for "Hands of Love" (1971)
Robert Butler for "Dust Bowl Cousins" (1972)
Charles S. Dubin for "Knockover" (1973)
David Friedkin for "Cross Your Heart, Hope to Die" (1974)
James Cellan Jones for Jennie: Lady Randolph Churchill (Miniseries) (1975)
Glenn Jordan for "Rites of Friendship" (1976)
John Erman for "Second Hour" (1977)
Gene Reynolds for "Prisoner" (1978)
Roger Young for "Cop" (1979)
Roger Young for "Lou" (1980)
Robert Butler for "Hill Street Station" (1981)
David Anspaugh for "Personal Foul" (1982)
Jeff Bleckner for "Life in the Minors" (1983)
Thomas Carter for "The Rise and Fall of Paul the Wall (1984)
Will Mackenzie for "My Fair David" (1985)
Will Mackenzie for "Atomic Shakespeare" (1986)
Marshall Herskovitz for "Pilot" (Thirtysomething) (1987)
Marshall Herskovitz for "Therapy" (1988)
Eric Laneuville for "I'm in the Nude" (1989)
Michael Zinberg for "Vietnam" (1990)
Eric Laneuville for "All God's Children" (1991)
Rob Thompson for "Cicely" (1992)
Gregory Hoblit for "Pilot" (NYPD Blue) (1993)
Charles Haid for "Into That Good Night" (1994)
Christopher Chulack for "Hell and High Water" (1995)
Christopher Chulack for "Fear of Flying" (1996)
Barbara Kopple for "The Documentary" (1997)
Paris Barclay for "Hearts and Souls" (1998)
David Chase for "The Sopranos" (1999)
Thomas Schlamme for "Noël" (2000)
2001–present
Alan Ball for "Pilot" (Six Feet Under) (2001)
John Patterson for "Whitecaps" (2002)
Chris Misiano for "Twenty Five" (2003)
Walter Hill for "Deadwood" (2004)
Michael Apted for "The Stolen Eagle" (2005)
Jon Cassar for "Day 5: 7:00 a.m. – 8:00 a.m." (2006)
Alan Taylor for "Smoke Gets in Your Eyes" (2007)
Daniel Attias for "Transitions" (2008)
Lesli Linka Glatter for "Guy Walks Into an Advertising Agency" (2009)
Martin Scorsese for "Boardwalk Empire" (2010)
Patty Jenkins for "Pilot" (The Killing) (2011)
Rian Johnson for "Fifty-One" (2012)
Vince Gilligan for "Felina" (2013)
Lesli Linka Glatter for "From A to B and Back Again" (2014)
David Nutter for "Mother's Mercy" (2015)
Miguel Sapochnik for "Battle of the Bastards" (2016)
[show]
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Primetime Emmy Award for Outstanding Writing for a Drama Series
1955–1975
Reginald Rose for Twelve Angry Men (1955)
Rod Serling (1960)
Rod Serling (1961)
Reginald Rose (1962)
Robert Thom / Reginald Rose for "The Madman" (1963)
Ernest Kinoy for "Blacklist" and Rod Serling for "It's Mental Work" (1964)
David Karp for "The 700 Year Old Gang" (1965)
Millard Lampell for "Eagle in a Cage" (1966)
Bruce Geller for "Mission: Impossible" (1967)
Loring Mandel for "Do Not Go Gentle Into That Good Night" (1968)
JP Miller for "The People Next Door" (1969)
Richard Levinson & William Link for "My Sweet Charlie" (1970)
Joel Oliansky for "To Taste of Death But Once" (1971)
Richard Levinson & William Link for "Death Lends a Hand" (1972)
John McGreevey for "The Scholar" (1973)
Joanna Lee for "The Thanksgiving Story" (1974)
Howard Fast for "Benjamin Franklin: The Ambassador" (1975)
1976–2000
Sherman Yellen for "John Adams: Lawyer" (1976)
William Blinn & Ernest Kinoy for "Show #2" (1977)
Gerald Green for "Holocaust" (1978)
Michele Gallery for "Dying" (1979)
Seth Freeman for "Cop" (1980)
Steven Bochco, Michael Kozoll for "Hill Street Station" (1981)
Steven Bochco, Michael Kozoll, Jeff Lewis, Michael I. Wagner, Anthony Yerkovich for "Freedom's Last Stand" (1982)
David Milch for "Trial by Fury" (1983)
Tom Fontana, John Masius, John Ford Noonan for "The Women" (1984)
Patricia Green for "Who Said It's Fair, Part 2" (1985)
Tom Fontana, John Masius, Joe Tinker for "Time Heals, Parts I & II" (1986)
Steven Bochco, Terry Louise Fisher for "The Venus Butterfly" (1987)
Paul Haggis, Marshall Herskovitz for "Business as Usual" (1988)
Joseph Dougherty for "First Day/Last Day" (1989)
David E. Kelley for "Blood, Sweat, and Fears" (1990)
David E. Kelley for "On the Toad Again" (1991)
Diane Frolov / Andrew Schneider for "Seoul Mates" (1992)
Tom Fontana for "Three Men and Adena" (1993)
Ann Biderman for "Steroid Roy" (1994)
Lance A. Gentile for "Love's Labor Lost" (1995)
Darin Morgan for "Clyde Bruckman's Final Repose" (1996)
Stephen Gaghan / David Milch / Michael R. Perry for "Where's Swaldo?" (1997)
Bill Clark / Nicholas Wootton / David Milch for "Lost Israel: Part II" (1998)
David Chase / James Manos Jr. for "College" (1999)
Rick Cleveland & Aaron Sorkin for "In Excelsis Deo" (2000)
2001–present
Mitchell Burgess & Robin Green for "Employee of the Month" (2001)
Robert Cochran / Joel Surnow for "12:00 a.m. – 1:00 a.m." (2002)
Mitchell Burgess & David Chase & Robin Green for "Whitecaps" (2003)
Terence Winter for "Long Term Parking" (2004)
David Shore for "Three Stories" (2005)
Terence Winter for "Members Only" (2006)
David Chase for "Made in America" (2007)
Matthew Weiner for "Smoke Gets in Your Eyes" (2008)
Kater Gordon & Matthew Weiner for "Meditations in an Emergency" (2009)
Erin Levy & Matthew Weiner for "Shut the Door. Have a Seat." (2010)
Jason Katims for "Always" (2011)
Alex Gansa & Howard Gordon & Gideon Raff for "Pilot (Homeland)" (2012)
Henry Bromell for "Q&A" (2013)
Moira Walley-Beckett for "Ozymandias" (2014)
David Benioff & D. B. Weiss for "Mother's Mercy" (2015)
David Benioff & D. B. Weiss for "Battle of the Bastards" (2016)
Bruce Miller for "Offred" (2017)
[show]
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Primetime Emmy Award for Outstanding Directing for a Drama Series
Jack Smight for "Eddie" (1959)
Robert Mulligan for The Moon and Sixpence (1960)
George Schaefer for Macbeth (1961)
Franklin J. Schaffner (1962)
Stuart Rosenberg for "The Madman" (1963)
Tom Gries for "Who Do You Kill?" (1964)
Paul Bogart for "The 700 Year Old Gang" (1965)
Sydney Pollack for "The Game" (1966)
Alex Segal for Death of a Salesman (1967)
Lee H. Katzin (1968)
David Greene for "The People Next Door" (1969)
Paul Bogart for "Shadow Game" (1970)
Daryl Duke for "The Day the Lion Died" / Fielder Cook for "The Price" (1971)
Alexander Singer for "The Invasion of Kevin Ireland" (1972)
Jerry Thorpe for "An Eye for an Eye" / Joseph Sargent for "The Marcus-Nelson Murders" (1973)
John Korty for The Autobiography of Miss Jane Pittman / Robert Butler for "Part III" (1974)
Bill Bain for "A Sudden Storm" (1975)
David Greene for Episode 8 (Rich Man, Poor Man) (1976)
David Greene for Roots ("Part 1") (1977)
Marvin J. Chomsky for Holocaust (1978)
Jackie Cooper for "Pilot" (The White Shadow) (1979)
Roger Young for "Cop" (1980)
Robert Butler for "Hill Street Station"(1981)
Harry Harris for "To Soar and Never Falter" (1982)
Jeff Bleckner for "Life in the Minors" (1983)
Corey Allen for "Goodbye, Mr. Scripps" (1984)
Karen Arthur for "Heat" (1985)
Georg Stanford Brown for "Parting Shots" (1986)
Gregory Hoblit for "Pilot" (L.A. Law) (1987)
Mark Tinker for "Weigh In, Way Out" (1988)
Robert Altman for "The Boiler Room" (1989)
Thomas Carter for "Promises to Keep" / Scott Winant for "The Go-Between" (1990)
Thomas Carter for "In Confidence" (1991)
Eric Laneuville for "All God's Children" (1992)
Barry Levinson for "Gone for Goode" (1993)
Daniel Sackheim for "Tempest in a C-Cup" (1994)
Mimi Leder for "Love's Labor Lost" (1995)
Jeremy Kagan for "Leave of Absence" (1996)
Mark Tinker for "Where's 'Swaldo?" (1997)
Mark Tinker for "Pilot" (Brooklyn South) / Paris Barclay for "Brain Salad Surgery" (1998)
Paris Barclay for "Hearts and Souls" (1999)
Thomas Schlamme for "Pilot" (The West Wing) (2000)
Thomas Schlamme for "In the Shadow of Two Gunmen: Part I" & "Part II" (2001)
Alan Ball for "Pilot" (Six Feet Under) (2002)
Christopher Misiano for "Twenty Five" (2003)
Walter Hill for "Deadwood" (2004)
J. J. Abrams for "Pilot" (Lost) (2005)
Jon Cassar for "Day 5: 7:00 a.m. – 8:00 a.m." (2006)
Alan Taylor for "Kennedy and Heidi" (2007)
Greg Yaitanes for "House's Head" (2008)
Rod Holcomb for "And in the End..." (2009)
Steve Shill for "The Getaway" (2010)
Martin Scorsese for "Boardwalk Empire" (2011)
Tim Van Patten for "To the Lost" (2012)
David Fincher for "Chapter 1" (2013)
Cary Joji Fukunaga for "Who Goes There" (2014)
David Nutter for "Mother's Mercy" (2015)
Miguel Sapochnik for "Battle of the Bastards" (2016)
Reed Morano for "Offred" (2017)
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Gadsden flag
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The Gadsden flag
The Gadsden flag is a historical American flag with a yellow field depicting a rattlesnake coiled and ready to strike. Positioned below the rattlesnake are the words "DONT TREAD ON ME."[note 1] The flag is named after American general and politician Christopher Gadsden (1724–1805), who designed it in 1775 during the American Revolution. It was used by the Continental Marines as an early motto flag, along with the Moultrie flag.
Modern uses of the Gadsden flag include political ideologies and movements such as libertarianism and the Tea Party movement as well as American soccer supporter groups, including Sam's Army and the American Outlaws since the late 1980s.
Contents
[hide]
1 History
1.1 Snake symbolism
1.2 Gadsden's flag
1.3 Variations in appearance
2 Other rattlesnake flags
3 Modern use
3.1 License plates
3.2 Tea Party movement symbol
4 In popular culture
5 Notes
6 References
7 External links
History[edit]
Snake symbolism[edit]
Benjamin Franklin's "Join, or Die" cartoon
The timber rattlesnake can be found in the area of the original Thirteen Colonies. Its use as a symbol of the American colonies can be traced back to the publications of Benjamin Franklin. In 1751, he made the first reference to the rattlesnake in a satirical commentary published in his Pennsylvania Gazette. It had been the policy of Great Britain to send convicted criminals to the Americas, so Franklin suggested that they thank the British by sending rattlesnakes to England.[2]
In 1754, during the French and Indian War, Franklin published his famous woodcut of a snake cut into eight sections. It represented the colonies, with New England joined together as the head and South Carolina as the tail, following their order along the coast. Under the snake was the message "Join, or Die". This was the first political cartoon published in an American newspaper.
As the American colonies came to identify more with their own communities and the concept of liberty, rather than as vassals of the British empire, icons that were unique to the Americas became increasingly popular. The rattlesnake, like the bald eagle and American Indian, came to symbolize American ideals and society.[3][4]
As the American Revolution grew, the snake began to see more use as a symbol of the colonies. In 1774, Paul Revere added Franklin's iconic cartoon to the nameplate of his paper, the Massachusetts Spy, depicted there as fighting a British dragon.[5] In December 1775, Benjamin Franklin published an essay in the Pennsylvania Journal under the pseudonym American Guesser in which he suggested that the rattlesnake was a good symbol for the American spirit:
I recollected that her eye excelled in brightness, that of any other animal, and that she has no eye-lids—She may therefore be esteemed an emblem of vigilance.—She never begins an attack, nor, when once engaged, ever surrenders: She is therefore an emblem of magnanimity and true courage.—As if anxious to prevent all pretensions of quarreling with her, the weapons with which nature has furnished her, she conceals in the roof of her mouth, so that, to those who are unacquainted with her, she appears to be a most defenseless animal; and even when those weapons are shown and extended for her defense, they appear weak and contemptible; but their wounds however small, are decisive and fatal:—Conscious of this, she never wounds till she has generously given notice, even to her enemy, and cautioned him against the danger of stepping on her.—Was I wrong, Sir, in thinking this a strong picture of the temper and conduct of America?[6]
The rattlesnake symbol was first officially adopted by the Continental Congress in 1778 when it approved the design for the official Seal of the War Office (at that time and for many years thereafter, the War Office was a term associated with the Headquarters of the Army). At the top center of the Seal is a rattlesnake holding a banner which says: "This We'll Defend". According to the US Army's Institute of Heraldry, "'This We'll Defend,' on a scroll held by the rattlesnake is a symbol depicted on some American colonial flags and signifies the Army's constant readiness to defend and preserve the United States.' This design of the War Office Seal was carried forward—with some minor modifications—into the subsequent designs for the War Department's Seal, and the Department of the Army's Seal, Emblem and Flag. As such, the rattlesnake symbol has been in continuous official use by the US Army for over 236 years.
Gadsden's flag[edit]
Gadsden's flag in an 1885 schoolbook
In fall 1775, the Continental Navy was established by General George Washington in his role as Commander in Chief of all Continental Forces, before Esek Hopkins was named Commodore of the Navy. The Navy began with seven ships, often called "Washington Cruisers", that flew the "Liberty Tree Flag", depicting a green pine tree with the motto "Appeal to Heaven". This is according to the October 20, 1775 letter of Washington's aide Colonel Joseph Reed, which is stored in the Library of Congress.
Those first ships were used to intercept incoming British ships carrying war supplies to the British troops in the colonies to both deprive the supplies to the British and to supply to the Continental Army. One ship captured by Captain John Manley had 30,000 pairs of shoes on it. However, the admiralty agent demanded his 2 1/2 per cent commission before he would release the cargo for Washington's army, so many soldiers marched barefoot in the snow. To aid in this, the Second Continental Congress authorized the mustering of five companies of Marines to accompany the Navy on their first mission. The first Marines enlisted in the city of Philadelphia, and they carried drums painted yellow, depicting a coiled rattlesnake with thirteen rattles, and the motto "Don't Tread on Me." This is the first recorded mention of the future Gadsden flag's symbolism.[citation needed]
At the Congress, Continental Colonel Christopher Gadsden represented his home state of South Carolina. He was one of seven members of the Marine Committee who were outfitting the first naval mission.[7]:289
Before the departure of that first mission in December 1775, the newly appointed commander-in-chief of the Navy, Commodore Esek Hopkins, received the yellow rattlesnake flag from Gadsden to serve as the distinctive personal standard of his flagship. It was displayed at the mainmast.[7]:289 Hopkins had previously led The United Companies of the Train of Artillery of the Town of Providence, before being appointed to lead the Navy. The 1775 flag of the Providence Train of Artillery's featured a coiled timber rattlesnake and the motto "Do Not Tread on Me" along with an anchor, cannons and the motto "In God We Hope" on a gold background.[8] The flag presented to Hopkins as Commander of the Continental Navy is a simplified version of that design.
Gadsden also presented a copy of this flag to the Congress of South Carolina in Charleston, South Carolina. This was recorded in the South Carolina congressional journals on February 9, 1776:

Col. Gadsden presented to the Congress an elegant standard, such as is to be used by the commander in chief of the American Navy; being a yellow field, with a lively representation of a rattlesnake in the middle in the attitude of going to strike and these words underneath, "Don't tread on me."[9]
Variations in appearance[edit]
Many variations of the Gadsden flag exist:
The motto sometimes includes an apostrophe in the word "Don't" and sometimes does not. Early written discussions uniformly include an apostrophe; however, as early as 1917, a flag reference book includes a picture of a version without the apostrophe.[7]:339
The typeface used for the motto is sometimes a serif typeface and other times sans-serif.
The rattlesnake sometimes is shown as resting on a green ground, presumably grassy, and sometimes not. The green grass seems to be a recent addition; representations dating from 1885 and 1917 do not display anything below the rattlesnake.
The rattlesnake usually faces to the left, and the early representations mentioned above face left. However, some versions of the flag show the snake facing to the right.
Other rattlesnake flags[edit]
Culpeper Minutemen flag
Reverse of the 1861 flag of Alabama
The Culpeper Minutemen flag has a coiled rattlesnake and the same motto as the Gadsden flag. It has a white field, rather than yellow, and the additional motto "Liberty or Death" and the name "The Culpeper Minute Men". It is the flag of Virginia volunteers from the Culpeper area.
The John Proctor's Regiment flag of 1st Battalion Westmoreland County, Pennsylvania, had a coiled rattlesnake shown on its flag.[10]
The United Companies of the Train of Artillery of the Town of Providence already used a coiled rattlesnake on a field of gold with the motto "Do Not Tread On Me" on its flag. Before Esek Hopkins was named the first Commodore of the American Navy by the Continental Congress he served as a Brigadier General of the Rhode Island Militia Artillery[11], and would have been familiar with the design of the flag.
All four of the American-designed "Rattlesnake Flags" show a coiled rattlesnake. The only other rattlesnake flag, the First Navy Jack, was "designed by" the English artist Thomas Hart as background art.[citation needed]
The traditional version of the First Navy Jack has an uncoiled rattlesnake and the same motto as the Gadsden flag, on a field of 13 horizontal red and white stripes. Flag experts (vexillologists) speculate that the English artist Thomas Hart either did not know about the practice of rattlesnakes to coil in defense, or did, and intended to insult the fledgling American Navy as a weak and vulnerable creature as a rattlesnake is when not coiled and ready to strike, slithering on the ground, trying to escape, with its motto "[Please] Don't Tread on Me!" However, others[who?] suggest the snake pictured on the flag was being provoked, and is striking. Hence the warning, "Don't tread on me [or I will strike]".[citation needed]
Modern use[edit]
First Navy Jack
Celebrating with the Gadsden flag, early morning, May 2, 2011, hours after the announcement of Osama bin Laden's death
Considered one of the first flags of the United States, the flag was later replaced by the current Stars and Stripes (or Old Glory) flag. Since the Revolution, the flag has seen resurgences as a symbol of American patriotism, disagreement with government, or support for civil liberties.
The First Navy Jack, which was not directly related to the Gadsden flag, has been in use by the United States Navy since its beginnings. Unlike the Liberty Tree Flag with the letter by Colonel Joseph Reed that describes it, there is no document that describes the Snake on Stripes flag, only an image by English artist Thomas Hart in the background of a portrait of Commodore Esek Hopkins. In that same painting is a round "tree flag". The triangular Liberty Tree flag is derived from the only surviving tree flag from the Revolution, found in an old trunk in 1993 on Long Island, the 5th Regt. Connecticut Militia. The Snake on Stripes flag was included in a book of flags by Admiral Preble, but later Preble determined the flag not valid, so he removed it from his text. However, the book publisher used the old color plates, so the image was continued in the new edition and subsequently picked up by other publications and Webster's Dictionary.[citation needed]
In preparation for the 1976 bicentennial year, staff officers in the Secretary of the Navy's office sought a powerful image for the Navy's Bicentennial. One Navy officer saw the Snake on Stripes Flag in Webster's Dictionary, so the staff officers ordered a large number to give away as Navy promotional items and then turned to the Naval Historical Center to "get the history". They were told that the flag had probably never flown during the Revolution, based on Admiral Preble's later discoveries, but a decision was made to use the Snake on Stripes Flag, or the "Fake Snake Flag", anyway. Beginning in 1975, commissioned Navy ships flew this Jack in place of the Naval Jack (officially known as the Union Jack, not to be confused with the United Kingdom's flag) at the bow. In 1977, the Secretary of the Navy directed that the ship in active status with the longest total period of active service shall display the First Navy Jack until decommissioned or transferred to inactive service, at which time the flag shall be passed to the next ship in line with appropriate honors. The display of this jack by the oldest ship in the fleet is intended as a form of recognition to promote pride of service, enhance morale, and contribute to the tradition of naval service. USS Enterprise (CVN 65) became the oldest active ship in the United States Navy upon the decommissioning of USS Kitty Hawk (CV 63) on May 12, 2009. Enterprise is only the third aircraft carrier ever to hold the honor of flying the First Navy Jack.[12]
Since the first Patriot Day on September 11, 2002, which commemorates the lives lost in the September 11 attacks, the rattlesnake from the flag is also shown on the US Army's Drill Sergeant Identification Badge. After the Snake on Stripes Flag became the Navy's symbol for the Global War on Terrorism, flag history professionals[vague] (vexillologists) have done extensive research papers that further question the claim that the flag ever flew during the American Revolution, yet it continues to fly at the bow of American warships today.[citation needed]
For historical reasons, the Gadsden flag is still popularly flown in Charleston, South Carolina, the city where Christopher Gadsden first presented the flag and where it was commonly used during the revolution, along with the blue and white crescent flag of pre-Civil War South Carolina.
License plates[edit]
Map of states (colored yellow) that offer Gadsden flag specialty license plates
The Gadsden flag has become a popular specialty license plate in several states.
As of 2017[update], the following states offer the option of obtaining a Gadsden flag specialty license plate: Alabama, Arizona, Missouri, Montana,[13] Oklahoma, South Carolina, Tennessee,[14] Texas, and Virginia.[15][16]
Tea Party movement symbol[edit]
The flag at a Tea Party rally in September 2009
Beginning in 2009 at Tea Party rallies, the Gadsden Flag has been adopted as a symbol of the American Tea Party movement.[17][18][19][20] It was also displayed by members of Congress at Tea Party movement rallies.[21] Some lawmakers have called it a "political symbol" because of this association.[19][22]
In March 2013, a resident of New Rochelle, New York, put up a Gadsden flag at the city's vacant armory building. The city ordered its removal, fearing that the flag would be seen as political. The next month, a veterans group, the United Veterans Memorial & Patriotic Association, filed suit against the city.[23]
In popular culture[edit]
This article appears to contain trivial, minor, or unrelated references to popular culture. Please reorganize this content to explain the subject's impact on popular culture rather than simply listing appearances; add references to reliable sources if possible. Unsourced material may be challenged and removed. (August 2017)
Athletic apparel company Nike uses the image of a rattlesnake coiled around a soccer ball for an ongoing, patriotic "Don't Tread on Me" campaign in support of the United States men's national soccer team. The phrase has become a rallying cry for American soccer fans and the Gadsden flag can occasionally be seen at national team games. A representation of the rattlesnake is contained on the inside of their uniforms, over the heart, with the initials "D.T.O.M.", which were used in the 2010 World Cup.[24]
In Hideo Kojima's video game Metal Gear Solid 2: Sons of Liberty a variation of the flag can be seen on one of the connecting bridges of the "Big Shell" facility, in a reference to both the original meaning and usage of the flag.[25]
In the apocalyptic 2006 CBS TV drama Jericho, the flag makes several appearances, most notably in the series finale as Jericho's acting mayor takes down the flag of the "Allied States of America", which had been flying at the town hall following a federal coup. He replaces the red, white, and blue flag of the central government with a Gadsden Flag which the previous mayor had kept framed in his office. The scene depicts a once-collaborationist character as finally having summoned the courage to be in open defiance against a supreme government.[26]
The heavy metal band Metallica recorded a song called "Don't Tread on Me" on their self-titled fifth studio album, released in 1991. The album cover features a dark grey picture of a coiled rattlesnake like the one found on the Gadsden Flag. The song's lyrics refer to political phrases from the American Revolutionary War.
In addition, in the hit series The West Wing, Sam Seaborn's office displays the flag hanging above his cabinet.
NASCAR driver Carl Edwards displayed the Gadsden Flag next to his facsimile signature on his race car.[27]
In WWE, the tag team Real Americans, composed by Jack Swagger, Cesaro and the manager Zeb Colter, used the Gadsden Flag and the preamble "We the People".
In the 1979 novel Alongside Night, an organization called the Revolutionary Agorist Cadre, seeking a Second American Revolution, welcomes visitors to one of its undergrounds: "The room’s only decoration was a modified Gadsden flag draped on the wall adjoining the bar and medical areas (opposite the door), a golden field with 'LAISSEZ-FAIRE!' in an upper left corner, a coiled rattlesnake facing left with its tongue out, and in the lower right, 'DONT TREAD ON ME!'" The Gadsden flag without the addition of "LAISSEZ-FAIRE!" is carried over into the 2014 Alongside Night movie adaptation in which the Gadsden flag is used by the Revolutionary Agorist Cadre as well as the traditional anarchist black flag.[28]
In 1970, on a verse from song Uncle John's Band by Grateful Dead contains (Their walls are built of cannon balls / Their motto is "don't tread on me").
Notes[edit]
Jump up ^ During the 18th century, when contractions were coming into widespead use, they were often written without an apostrophe and some forms survive today such as made for maked and had for haved. The standard form for the contraction of "do not" later came to include the apostrophe.[1]
References[edit]
Jump up ^ Robert Lowth, A Short Introduction to English Grammar: With Critical Notes. 1794. pp. 67, 79.
Jump up ^ Leepson, Marc; DeMille, Nelson (May 30, 2006). Flag: An American Biography. Macmillan. p. 12. ISBN 978-0-312-32309-7. Retrieved August 18, 2016.
Jump up ^ "Mohawk was Emerging as a Symbol of Liberty in the New Land". Boston-tea-party.org. Retrieved July 29, 2014.
Jump up ^ "Bald Eagle | National Bird". statesymbolsusa.org. Retrieved 2017-06-12.
Jump up ^ "A More Perfect Union: Symbolizing the National Union of States". Library of Congress. Retrieved August 18, 2016.
Jump up ^ "Franklin, Benjamin as quoted under his pseudonym, "The American Guesser"". From the Franklin Institute. December 27, 1775. Archived from the original on August 15, 2000. Retrieved August 18, 2016.
^ Jump up to: a b c Byron McCandless; Gilbert Hovey Grosvenor (1917). Our flag number: with 1197 flags in full colors and 300 additional illustrations in black and white. National Geographic Society. Retrieved August 18, 2016.
Jump up ^ https://classroom.monticello.org/media-item/flag-of-the-united-train-of-artillery-of-providence/
Jump up ^ Hicks, Frederick Cocks (1918). The flag of the United States. United States Government Printing Office. p. 23. Retrieved August 18, 2016.
Jump up ^ "A Rattlesnake Flag of the American revolution" (PDF). Archived from the original (PDF) on October 20, 2013. Retrieved August 18, 2016.
Jump up ^ http://www.rootsweb.ancestry.com/~rigenweb/Providence/article286.html
Jump up ^ "Don't Tread on Me Flag History". Retrieved August 18, 2016.
Jump up ^ "Montana Department of Justice - License Plate Designs and Fees - Service Organizations & Associations".
Jump up ^ "Friends of Sycamore Shoals State Historic Park". www.friendsofsycamoreshoals.org. Retrieved 2016-12-29.
Jump up ^ "Seven States Now Offer 'Don't Tread on Me' License Plates; Is Yours on the List? - Tea Party News". Tea Party. Retrieved August 18, 2016.
Jump up ^ Schwarz, Hunter (August 25, 2014). "States where you can get a 'Don't Tread On Me' license plate". The Washington Post. ISSN 0190-8286. Retrieved August 18, 2016.
Jump up ^ "Gadsden flag denied over State Capitol". Wtnh.com Hartford CT. May 26, 2010. Archived from the original on December 13, 2010. Retrieved August 18, 2016.
Jump up ^ "Gadsden Flag Now Officially "Offensive" In America". Aipnews.com. Archived from the original on July 17, 2011. Retrieved August 18, 2016.
^ Jump up to: a b "Connecticut Marines Fight for 'Don't Tread on Me' Flag Display". Fox News Channel. April 7, 2010. Retrieved August 18, 2016.
Jump up ^ Scocca, Tom (June 13, 2010). "Flag daze". Boston Globe. Archived from the original on March 4, 2016. Retrieved August 18, 2016.
Jump up ^ "Gadsden Flags Flying Off the Shelves in Support of the Tea Party movement Tax Protest". Market Wire. April 16, 2009. Archived from the original on August 14, 2009. Retrieved August 18, 2016.
Jump up ^ "Tea Party movement flag will not fly at Connecticut Capitol". Necn.com. April 8, 2010. Archived from the original on September 5, 2012. Retrieved August 18, 2016.
Jump up ^ "Flag's Believed Ties To Tea Party Lead To Removal From New Rochelle Building". CBS 2 New York. April 22, 2013. Retrieved August 18, 2016.
Jump up ^ "USA Men's Soccer Kit". Archived from the original on October 8, 2011.
Jump up ^ "Screenshot of Sons of Liberty Flag".
Jump up ^ "Jericho Video – Jericho – Season 2: Episode 7: Patriots And Tyrants w/ Commentary". CBS. Retrieved August 18, 2016.
Jump up ^ "Carl Edwards". Joe Gibbs Racing. Retrieved 2016-11-17.
Jump up ^ "Alongside Night — Chapter XIV « J. Neil Schulman". jneilschulman.agorist.com. Retrieved 2016-11-17.
External links[edit]
Book: Flags of the United States
Media related to Gadsden flag at Wikimedia Commons
"A Flag of Conviction", The Claremont Institute
Retrieved from "https://en.wikipedia.org/w/index.php?title=Gadsden_flag&oldid=817699610"
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