Game of Thrones

[Sheba]

A French youtuber have made a apt description of the finale season, especially the last episode. I quote from memory and will put it in english the best I can, "Its closer to a draft than to an actual written scenario. We get the bones of the ending, but not the meat. Which is why it have this slight unfinished, uncooked, taste. Leaving a lot unable to digest the fact that Bran is the winner."
I get that they were trying to mirror Return of the King, but this needed more than this half of a season.

[GDB]

Originally Posted by Kanon

How it happened somehow managed to be even worse than I had imagined though

I felt the opposite. I felt like they pulled it off better than I'd have imagined based on the spoilers. Granted it was still bad, but not as bad as I feared it would be.

[Kanon]

Originally Posted by GDB

I felt the opposite. I felt like they pulled it off better than I'd have imagined based on the spoilers. Granted it was still bad, but not as bad as I feared it would be.

Just what were you imagining?

For me it doesn't get much worse than a prisoner that was just asked to shut his mouth choosing the next King on his own and the Lords basically acting as yes men. An actual discussion might have been nice.

[Guardian Enzo]

It's an incredibly low bar, but I would concur that while awful, the finale was less awful than I feared. At the very least, "The Last of the Starks" ended up being the low ebb of the series.

[AnimeFan188]

Game of Thrones’ Exciting Future: Dragons, Mermaids, Zombies and More:

"There’s no way to tell when another TV cultural event on the scale of Game of Thrones
will come along, but at least three more stories set in George R.R. Martin’s world are
currently vying for a chance at success on the small screen.

The Song of Ice and Fire author is at work on at least one prequel series helmed and
co-written by Jane Goldman (Kick-Ass, X-Men: First Class, Kingsman). The pilot for that
series—which may or may not unofficially be titled The Long Night, as Martin hinted in
his blog before HBO hushed him up—has locked down a director, its cast, its lead
(Naomi Watts!), and will start shooting early this summer. And that’s just one of the
five different Game of Thrones spinoff concepts that HBO commissioned before its
biggest ratings smash took a final bow.

But when you play the game of shared-Thrones-iverse franchise domination, you win or
you die—and at least two of those spinoff concepts are already kaput, according to
Martin. That leaves Goldman’s pilot and another two pitches from a talent pool including
Mad Men and Leftovers scribe Carly Wray, Kong: Skull Island screenwriter Max
Borenstein, and L.A. Confidential writer Brian Helgeland. While we know Goldman’s
potential series is set near the end of Westeros’ Age of Heroes (more on that in a bit),
we’re still in the dark about the other two.

All we know is that each takes place before the events of Thrones. HBO president
Casey Bloys squashed the idea of a direct sequel in an interview with Deadline last
week, meaning we’re unlikely to watch Arya Stark discover what’s west of Westeros,
find out where Drogon laid down Dany’s corpse, or see what happens to Westeros after
a human screensaver is installed as king. “I think it’s best to try the prequels in other
areas of George’s massive universe—just feels like the right thing to do, let the show
stand on its own,” Bloys said."

See:

https://www.thedailybeast.com/game-o...-more?ref=home

[AntonKutovoi]

I don't really think GoT prequels can become as nearly as big as GoT itself. Right now, out of the upcoming fantasy series series (of course, if they won't fail quality-wise) the only one that might compare is Wheel of Time adaptation. There's also Witcher series coming out, but it's fundamentally different series of books - while it does have some political intrigues and warfare, it's more about colourful characters and witty dialogues. And action. Early stories are pretty much "Fairy tles having a more dark and realistic turn". There's also Lord of the rings TV series by Amazon, but it's hard to judge the result, sicne it's an original series.

[nikita22]

sums up the finale season perfectly.

awed-frog
I’ve seen a couple of explanations about why GoT changed so much and why the finale disappointed so many people, and I think they’re good ones. It’s true, for instance, that while GRR Martin worked forwards, building convincing characters and then letting them do whatever (which is going to be a problem for him, btw), the showrunners worked backwards (and did it very badly). But something that’s bothered me a lot and haven’t seen anyone mention so far is the narrative dissonance of The Iron Throne.

Basically, what this finale attempted was circular storytelling, which can be a beautiful thing when done right; what it ended up doing, however, was making it clear to us that in the end, you can’t escape your upbringing; who you were 100% determines who you’ll be.

(That’s hugely different from well-made circular storytelling.)

That’s why the characters who escape (narratively) unscathed are people like Sansa, who grew up adored in a loving household and becomes a version of what she’s been taught to be her entire childhood: the lady of the mansion.

Meanwhile, Jon never fully got over his ‘bastard’ upbringing: military success, camaraderie, the love of two remarkable women and the respect of entire armies – none of that could fundamentally change who Jon was on the inside: the bastard, the brushed aside orphan always on the margins of things. Arguably, that’s why he kept taking so many risks, and that’s why he always felt it was on him to fix whatever was fixable: because his life didn’t, in the end, truly matter to anyone. As a bastard, he had no true family, no name and no inheritance; and as a member of the Night Watch, of course, he had no future, in the sense that he could take no wife and father no children. Thus, Jon rejoining the Watch (what Watch, by the way? unclear) and disappearing beyond the Wall places him back where he was at the beginning: among the unseen, the unwanted and the unknown.

The same goes for Daenerys, who, despite atrocious sufferings and an iron-will determination, saw her entire character arc collapse back into the person she was apparently destined to be: the daughter of a madman, the fire and blood princess, the destroyer, the abused child who claws back and hurts everyone else because ‘they don’t love me, so they might as well fear me’. Because that’s what you learn from a life of abuse, isnt’ it? That it’s either love or fear that will keep you safe. And all along, GoT teased an end to that destructive cycle so many people are trapped into IRL – through her kindness, empathy, profound sense of self-worth (problematic in some ways, but also a miracle in itself for someone who was raised to be sacrificial cattle) and her courage, it seemed that Daenerys would learn that you can trust yourself to love others and be loved in return, even if you’re not sure what the feeling is; that you can choose to do the right thing even if it’s risky; that you can survive without turning into your abusers. But - lol, jk. All of that was undone, as it was undone for so many other characters: Sandor, who died in that fire he feared so much to kill a brother that should have meant nothing to him; Jaime, who was so close to letting himself become a better person; Bran, whose profoundly spiritual path was apparently preparation for the very mundane game of politics; Missandei, who died in chains; and Westeros itself, which is returned to its Baratheon state (a king who’s got no real right to the throne, a council that represents almost nobody, lords chosen for their loyalty to powerful friends, and all those brothels in King’s Landing which will soon reopen - and quickly be filled, no doubt, with poor, vulnerable women who’ve got no other choice).

Now, I mentioned narrative dissonance because – in themselves – the collapse of a character’s arc exactly back to the beginning and a complete inability to escape destiny are not bad writing.

What they are, though, is the very definition of tragedy.

(Laius is told his son will kill him – casts the baby aside, and still dies. Priam dreams his youngest son will doom Troy – casts the baby aside, and the city still burns. In the TV version, Arthur chooses to spare Mordred out of kindness - Mordred still kills him.)

Entire societies are or were shaped by the idea that you can’t, in the end, defeat fate and defy your heritage. It may be a gloomy worldview, but it’s a fascinating one, especially on a stage. We’ve all cried for Romeo and Juliet; we’ve all cried for Achilles. Sometimes, people fail; sometimes there’s no way out, and that’s the terrible beauty and fascination of the story.

The thing is, though: GoT is not a tragedy. It’s got a very clear happy ending: the two main villains of the season (the Night King and Cersei) get their comeuppance, and that is a direct message to the back of our brains - a very loud siren - signaling that all is now well. The quietly hopeful music and the cheerful group portrait of a bunch of rational and beloved characters working on further fixing the kingdom cement that subconscious feeling.

But this is where the narrative dissonance comes in. Characters like Daenerys, Jon and Jaime were a central part of the main cast: we rooted for them to make it, to survive, to succeed. In order to deny them a happy ending while not turning the entire thing into a tragedy, the show needed to change their status mid-story, and this is what it did. Jaime chooses to die for his horrible sister; Jon kills the woman he loves in the most treacherous, underhanded way possible; and Daenerys, of course (and most visibly, because women) becomes this unredeemable butcher of children.

So here is the distortion, and here is the dissonance. It’s cheap, and it’s worse than cheap: it’s badly made.

(There is not even shock value here - we’ve all seen this coming for a while now.)

No, this is just a story that can’t decide what it is, and unfortunately knowing what story you’re writing is the main rule for producing (good) fiction. GoT ends well, but it ends well by turning half its main characters into villains and thus implying they deserved what they got. This is why - on top of everything else, like the more and more overt racism - many of us are so frustrated and let down by the ending of a story they loved for years and years and years. Seriously, what a waste. Let’s hope someone up high learns from this, and decides to spend some of that lavish CGI funding they’re so generous with on a decent screenwriter instead.

[erneiz_hyde]

My favorite medieval youtuber just posted this video. I am just helping spread the love.

YouTube

https://youtu.be/dZdbpfcxfSk

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