Oh no, I am serious. There is literally two likeable characters who have half of a chance of changing anything in the shitsack world of GoT and they're both Lannisters. Now Tyrian and the reformed Jaime are worthy enough characters, but they're both ultimately on the wrong side of the fence and for anything worthwhile to happen and for some semblance of honor or justice to come out of this, it'll take another season. I mean, for me it's not about what's at stake, but rather which characters I can get behind. Those characters are becoming fewer and fewer and I find myself cheering characters on less and less.
During the Red Wedding, well before "The Rains of Casterly Rock" started playing, I mentioned to my sister who was watching with me that I hate these sorts of laid back pomp and circumstance scenes because I'm always afraid something bad is going to happen. And I was right. I didn't want to be right. It showed me I can't really enjoy the show anymore because everyone gets fucked in the end if they so much as hint that their motives are less than entirely self-serving. It pretty much makes rooting for the "good guys" feel pointless and it takes away the satisfaction of the "bad guys" getting killed because it just reminds you of what it took for them to go down. I mean, the Stark rebellion was the torch, it was the thing that made you think that at least someplace wouldn't be so crapsack, and that would sustain me until the next season. The Red Wedding pretty much took all the wind out of my sails to continue it.
http://www.avclub.com/articles/why-game-of-thrones-red-wedding-packs-such-an-emot,98566/
I have a long-brewing theory that Martin is the worlds most cynical romantic. Ive never yet read a Martin novel or story that ended in utter despair for any character who hadnt thoroughly earned itand Ive read him extensively, from his 1977 debut novel, Dying Of The Light, to his many short-story collections and the entire Song Of Ice And Fire series. His work has always embraced bleakness, loneliness, and hardship, with tough-minded people muddling through traumas that perpetually threaten to break them. His protagonists rarely get exactly what they want; often, they can consider themselves lucky if they become wise enough to realize they wanted the wrong thing. His characters often make hard, ugly choices to survive, but those choices make them stronger and fiercer, and more capable of protecting themselves from the hatefulness of the predatory worlds they live in.
Martins cynical side can be overpowering: Characters who start his stories with naïve faith in honor, loyalty, or loveespecially their own one-sided, demanding love, as opposed to a mutual bondare commonly punished for their beliefs. But his romantic side holds just as steady, with the most steadfast and worthy characters prevailing. As I put it in that Gateways, For a man whose writing is so often ruthless and uncompromising, he has a hell of a sentimental streak when it comes to questions of injustice, honor, nobility, personal dignity against long odds, and wrongs that need to be righted at any cost.
Ive said this over and over when writing about Martins work. What he does better than any author Ive ever encounteredwhat defines his writing for meis his masterful skill at exploiting the tension between the desire for justice and the availability of that justice. But that doesnt mean there is no justice, just that its always hard-won and thoroughly earned. Robb and Catelyns grotesque ends complicate the search for justice considerably, and move it far into the future. But it doesnt make the quest impossible. It just means itll be that much sweeter and that much more satisfying when it finally arrives.