Sebastabear said:
Don't know what you posted Yogi but since you are replying to me I'll just remind you I blocked you long ago. You are clearly just a troll who does nothing but talk crap about the program and other posters. You may have once said something positive about Cal but if so I never saw it. Been great having you gone.
wifeisafurd said:Poster is an utter moron.wifeisafurd said:
I suspect the Jon/Danny conflict is a gimmick to mislead us.
This seems to presume that Daenerys is acting rationally. Seems obvious that she is not.Yogi Bear said:
I don't have an issue with Daenerys did per se. Aegon the Conqueror conquered some of the seven Kingdoms the same way. Take your dragon into the city and set everything on fire. Yet no one outside of Dorne would say he was a mad king or a bad king. Cersei refused to surrender. It's not her fault that the people of King's Landing are so stupid as to not think "Maybe we'd be better off away from the town where all the fighting is going to take place." Other kings, faced with an adversary who refused to bend the knee and had dragons all did the same thing. They used them, as any sane person would who had a dragon at their disposal. The issue here is that they decided to make her decide to set fire to everything anyway after her sellswords dropped their weapons, which Aegon the Conqueror would not have done. This is out of character given what Daenerys' character has been established to be by the rest of the story. Use your dragon - fine. Use it when you don't have to, not fine.
I also noticed Weiss said after last night's episode that they wanted to focus on the common people and show death raining down from above, because no one ever focuses on the common people and they felt it was important to focus on that. Two minutes later Benioff said they focused on Arya getting out of the city because if it was just a bunch of extras there'd be no emotional pull for the audience. The interviews seem to be doing more harm than good for them.TheSouseFamily said:
Watching The Mountain take a dagger to the eye, a sword to the stomach, multiple stab wounds in the torso and keep going strong, I have to wonder why Qyburn didn't leverage this "technology" or the methods used to zombify Gregor on a more widespread basis to create a more powerful and potentially invincible and loyal army. Huge missed opportunity. Plus, Gregor's treatment was several years ago, so this could have been implemented on a massive scale by now.
Also, for those like me confused by the sudden reinvigoration of the Dothraki ranks, here is Benioff talking about episode 3 and saying we're seeing the "end of the Dothraki essentially".
GMP said:I also noticed Weiss said after last night's episode that they wanted to focus on the common people and show death raining down from above, because no one ever focuses on the common people and they felt it was important to focus on that. Two minutes later Benioff said they focused on Arya getting out of the city because if it was just a bunch of extras there'd be no emotional pull for the audience. The interviews seem to be doing more harm than good for them.TheSouseFamily said:
Watching The Mountain take a dagger to the eye, a sword to the stomach, multiple stab wounds in the torso and keep going strong, I have to wonder why Qyburn didn't leverage this "technology" or the methods used to zombify Gregor on a more widespread basis to create a more powerful and potentially invincible and loyal army. Huge missed opportunity. Plus, Gregor's treatment was several years ago, so this could have been implemented on a massive scale by now.
Also, for those like me confused by the sudden reinvigoration of the Dothraki ranks, here is Benioff talking about episode 3 and saying we're seeing the "end of the Dothraki essentially".
Damn, that still makes it a hard no that it was A-Rod.okaydo said:
Was that really him, though?
GMP said:I also noticed Weiss said after last night's episode that they wanted to focus on the common people and show death raining down from above, because no one ever focuses on the common people and they felt it was important to focus on that. Two minutes later Benioff said they focused on Arya getting out of the city because if it was just a bunch of extras there'd be no emotional pull for the audience. The interviews seem to be doing more harm than good for them.TheSouseFamily said:
Watching The Mountain take a dagger to the eye, a sword to the stomach, multiple stab wounds in the torso and keep going strong, I have to wonder why Qyburn didn't leverage this "technology" or the methods used to zombify Gregor on a more widespread basis to create a more powerful and potentially invincible and loyal army. Huge missed opportunity. Plus, Gregor's treatment was several years ago, so this could have been implemented on a massive scale by now.
Also, for those like me confused by the sudden reinvigoration of the Dothraki ranks, here is Benioff talking about episode 3 and saying we're seeing the "end of the Dothraki essentially".
Battle of the *******s and the Winds of Winter (last two episodes of Season 6) were clearly the best and it's not close. Red Wedding episode was less of a gut punch since I'd read the books and knew what was coming. But the end of Season 6 was some of the best TV I've ever seen.okaydo said:
Game of Thrones' King's Landing horror fittingly reveals what the show has always been about: The Dany twist is classic George R.R. Martin.
https://www.vox.com/2019/5/13/18617648/game-of-thrones-season-8-bells-dany-burns-kings-landing
Every Game of Thrones Episode, Ranked: Last night's episode ranks as No. 1
https://www.vulture.com/2016/06/game-of-thrones-episodes-ranked.html
https://www.vox.com/game-of-thrones/2019/5/13/18617796/game-of-thrones-season-8-episode-5-daenerys-targaryen-eyesokaydo said:
Game of Thrones' King's Landing horror fittingly reveals what the show has always been about: The Dany twist is classic George R.R. Martin.
https://www.vox.com/2019/5/13/18617648/game-of-thrones-season-8-bells-dany-burns-kings-landing
Every Game of Thrones Episode, Ranked: Last night's episode ranks as No. 1
https://www.vulture.com/2016/06/game-of-thrones-episodes-ranked.html
Westeros goes to an imperfect democracy, that would be a twist.dajo9 said:
It occurs to me that after the destruction of the last episode, maybe the Iron Throne no longer exists.
Would be for the best.
Well no. It would go to what it really SHOULD be - a loose confederation of kingdoms (akin to the Germanic Kingdoms under the Holy Roman Empire. If you think about it there is really NOTHING that keeps that kingdom together after Dragons faded from the world.golden sloth said:Westeros goes to an imperfect democracy, that would be a twist.dajo9 said:
It occurs to me that after the destruction of the last episode, maybe the Iron Throne no longer exists.
Would be for the best.
Quote:
With its cast of thousands, dense mythology, and intercontinental scope, A Song of Ice and Fire is an awkward fit for the screen indeed. Yet what the current split in regard between books and show tends to obscure is that this very awkwardness was once a boon, not a handicap. Nor is A Song of Ice and Fire as distinct from television as this dichotomy tends to imply. Game of Thrones exists, by its nature, in conversation with the books. From their beginning, however, the books themselves were in conversation with TV. Keeping this origin story in mind, Game of Thrones' struggles as it comes to a close this Sunday are less a divergence than the closing of a full circle. A Song of Ice and Fire was an explicit reaction against television, which made its adaptation inherently subversive TV. And what some have interpreted as Game of Thrones shedding the qualities that once made it exceptional is, in fact, a capitulation to its format. Game of Thrones may be the biggest television show of all time, but at the end, it couldn't transcend television.
From the mid-1980s to the mid-1990sright around the time A Game of Thrones was publishedMartin lived in the belly of the beast. Like many novelists before him, Martin went Hollywood, writing for the first revival of The Twilight Zone and serving as a writer-producer on CBS's Beauty and the Beast. When he tried to launch some of his own projects, Martin quickly ran up against the limitations of an industry he was decades too early to disrupt. "The theme of that whole period for me was, I would always turn in my first draft to whatever network or studio or producer I was working for and the reaction was inevitably, 'George, this is great. It's terrific, it's a wonderful read, thanks. But it's three times our budget. We can't possibly make it. It's too big and it's too expensive,'" Martin told The New York Times in 2011, ahead of Thrones' premiere.
Enter the written word. "When I returned to prose, which had been my first love, in the '90s," Martin continued, "I said I'm going to do something that is just as big as I want to do. I can have all the special effects I want. I can have a cast of characters that numbers in the hundreds. I can have giant battle scenes. Everything you can't do in television and film, of course you can do in prose because you're everything there." Martin subsequently took full advantage of the freedoms experience had taught him to appreciate. Without a time slot, he populated Westeros with noble houses served by smaller houses served by peasants protected by sacred orders. Without budgets, he plunged the continent into a five-front war. And without actor contracts, he killed his main character and several of his potential replacements, egos and agents be damned.
Ironically, such blatant defiance of television's institutional norms makes for inherently interesting television. To its credit, Game of Thrones didn't change the core characteristics of A Song of Ice and Fire to make them more palatable to TV. Instead, it was TV itself that was changed. Never before had a show baited and switched its audience about the very concept of a protagonist; never before had a show included hourlong battles with the financial demands of a feature film; never before had a show carried such an overwhelming mass of detailed lore that it could single-handedly support its own explainer industry. Part of what Thrones' legions of fans have responded to is old-school craftsmanship, in the form of great performances and richly outlined characters. Much of the appeal, however, was novelty: Viewers weren't used to feeling the disorientation that came with Ned Stark's beheading or Jaime Lannister's gradual redemption, so they stuck around for more.
The sheer feat of translating these subversions, and balancing them with the practicalities necessary to create an actual television show, ought not to be understated. Whatever criticisms they've faced for their relatively original storytelling, Benioff and Weiss proved themselves to be master adaptors. Without Martin's device of limited third-person, point-of-view chapters, which could transform a character from caricature to de facto narrator in an instant, Game of Thrones capably planted the seeds of the Lannister twins' nuance much earlier on. Without pages' worth of raw exposition, Thrones re-created the feeling of Westeros as a place buckling under the weight of its own history, haunted by the phantom pains of a war decades in the past. This accomplishment alone places Thrones in the pantheon of series that fundamentally altered audiences' expectations of TV.
A cruel paradox of Thrones' later seasons, then, is that the show effectively trained its fan base to hold it to the same logical, methodical, unsentimental standard as the earlier seasons and books did fantasy tropes. A decade ago, A Song of Ice and Fire so effectively commented on sword-and-sorcery mainstays it changed how some readers saw the genre; now, Game of Thrones has preemptively taught its viewership to reject the shortcuts and workarounds it's taken on the way to Sunday's conclusion. Because many of the flaws in Thrones' home stretch aren't unique to Thrones. They're products of typical TV logicexactly the kind Thrones initially rejected, and can no longer resist.
MoragaBear said:
That's an interesting theory because you could see green bursts throughout the city and she went on her mad spree.
What in the world would give merit to that theory?BGolden said:
My theory is that Danyres saw that Cerci was about to deploy wildfire. Danyres was destroying as much of the stockpile as possible before Cersi destroyed the entire city.
