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someplace-that-is-else · 4 years

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“Shaking It Off...?’: Is the Magicians Surviving Post-Quentin in Season Five?

Editor’s Note: Spoilers for the current season of The Magicians lie ahead. Read at your own risk.

I still can’t listen to it.

Every time I was at work, the radio loved to drop in Taylor Swift. I admit it. I love Taylor Swift. It was earned respect so I won’t knocked it. However, when I heard ‘Shake It Off,’ I changed the station. Why? Because I was reminded every time.

The Magicians Episode 4, Season 1…Quentin Coldwater in the mind asylum. Him singing it. It was a turn left moment in a somewhat serious scene that was hilarious.

But I was always reminded when I heard the song. Now…

Quentin Coldwater was dead.

In case you missed it, the fourth season of The Magicians went out with a bang. In order to save the world and his friends, Quentin Coldwater sacrificed himself. It was a heartbreaking moment and yes, there were tears at the gang’s tribute to him with a cover of ‘Take on Me.’ It was also shocking because who would have thought a show would kill off their main character, the character that viewers are brought into the show by. Even ballsier? Leaving the main character dead, confirmed immediately after the episode aired that night by way of internet interviews from the producers.

That was the world viewers were coming into walking into Season Five. Unlike Supergirl which I dropped in Season Four due to the on-the-nose political writing, I was curious to see how the writers would play the death of their main character.

So how was it?

Did Someone Order an Apocalypse?: Raising the Stakes in Season Five

After a season where magic was rationed out, this season was different. Now there was too much magic. How much? So much that people were exploding for crying out loud.

As a result, there were plot threads being introduced. You had Penny being made a professor at Brakebills and dealing with the presence of a signal that one of his Traveler students was hearing. You had Kady struggling with being the leader of the hedgewitches while being in the middle of a mystery involving the disappearance of a book depository. Most importantly, there was a Pig running around, encountering Julia and saying an apocalypse was coming.

Hm…the end of everything. While the Magicians has had moments that were life and death, I do not think it has actually dealt with an apocalypse. It sounded so Buffy the Vampire Slayer. And it was during one of these moments of too much magic that the apocalypse was supposed to happen.

And this was all in light of the fact that Quentin was only dead a month. Alice, Julia, and Elliot were the ones who were hit the hardest by his passing. Julia was Quentin’s best friend. Alice was Quentin’s girlfriend. Elliot was his woulda, coulda, shoulda. But as usual, the world as they knew it needed saving.

And there were casualties on the way to the apocalypse. Penny lost his ability to control his Traveler abilities so much so that he could accidentally kill himself now. Dean Fogg was lost to a whole dimension in Kady’s pursuit of the book depository. In the gang’s attempt to stop the apocalypse, they succeeded. But there was a BUT.

WRONG apocalypse.

All that struggle. Encountering goddesses with agendas. The return of evil hedge witch Marina who was behind the depository mystery. Kady almost was killed by an assassin. Elliot and Margo got stuck in a time loop.

It was all for the wrong apocalypse. You see the Pig was talking about a whole other apocalypse that was coming. One that appeared to be tied into another plot thread from last season involving Elliot and Margo being trapped at one point in the Narniasque land of Fillory 300 years in the future and its future ruler the Dark King.

Oops.

The Power of Three: Character Development in Season Five

Magic comes from pain.

Eliot said that to Quentin in the first season. Over the course of the seasons, that has truly held up quite well. Going into Season Five, there was still plenty of it. And that brought me to the character development for Julia, Alice, and Eliot specifically. Their pain. Their grief over Quentin’s death.

I loved Julia’s Season Four arc. The ‘is she or isn’t she still a goddess?’ arc. She had been practically redeemed in Season Three. She had sacrificed her being on a higher plane for her friends. And where did she go from here? From here led to a new relationship with Penny, getting to get close with her best friend Quentin again, and have a chance to be a full goddess again. However, that was snatched away from her by the Monster and so was Quentin. She was human again with no magic…until her pain over Quentin’s death, bringing her magic back to the surface.

And that miracle was what was driving Julia this season. She was determined to not have Quentin’s death be in vain. She was going to stop those apocalypses. She was so determined that it was revealing cracks in her relationship with Penny. In fact, they broke up…just in time to find out that Julia was pregnant. So would Julia keep focusing on stopping apocalypses to honor Quentin’s memory, or would she focus on herself and her future which may or may not include Penny? Oh, the dilemma…

And then we had Alice…

Honestly, I haven’t liked Alice since Season 2. She was cute. She was brainy. She wore glasses. And Niffin experience, while a great plot twist for those of us who hadn’t read the books, really tainted her. And any sympathy she got for her pain was destroyed by betraying the gang by helping the Library at the end of Season Three. I enjoyed everyone giving her the business in Season Four.

So I was saddened to see Quentin take her back. Especially with someone better hanging in the wings.

That said…the pain that Alice felt for Quentin dying. The staying in her room. Her wearing his clothes. Her trying to resurrect him. That felt real. And for the first time, Alice felt like a person again. She felt like Alice. And as the current season has progressed, a new persona has taken over: old Alice. The last few episodes had brought back the brainy, the problem solving, and dare I say it the cute Alice from the early seasons. From the darkness, she had come back into the light.

And finally, there was Eliot. Eliot spent the majority of Season Four possessed by an ancient Monster. A Monster who was on a mission to resurrect his even more dangerous sister. In the process of Eliot trying to find a way to contact Quentin, Margo, and the gang, it was revealed that there was a scene not revealed to the audience. Back during the Season 3, Episode 5 episode “A Day in the Life,” Quentin and Eliot were trapped in a time loop of sorts and lived a whole life together. Fell in love. Had a child together. Died. In the end, quick thinking brought them back. And it was over…right?

Wrong.

It turned out that Quentin and Eliot had had a talk. Proof of concept. Most people took a chance when they got into a relationship. Here they had a whole lifetime and saw they worked together. So…Quentin wanted to make it real. The debatably straight character wanted to give it a go…but Eliot pulled away. Being trapped in a Monster gave Eliot that push. The push he needed to get free and tell Quentin that he was ready to give it a go.

So of course…Quentin died.

And just like that…they became Buffy the Vampire Slayer’s Tara and Willow. They became like The 100’s Clarke and Lexa. What did I mean? I meant that the ‘Bury Your Gays’ trope struck again. You know, the trope in literature and tv where two people of the same sex cannot be happy and if they found happiness it usually ended in tragedy. And the fact that Quentin got some form of closure with Alice in terms of their relationship while he did not with Eliot was quite the tragedy for fans.

While I personally would have liked to see some closure for those two (called Queliot by their fans) due to the relatability of their situation (which happened more in real life than people thought), I was pleased to see that in the latest season that Eliot was definitely dealing with his unsolved feelings about Quentin. Not only did he find some closure to it, he even got to some closure with Alice as well since they had quite a bit to deal with between each other. Bonus, Eliot had been bantering with the Dark King, this season’s potential Big Bad who happened to be flirting with Eliot.

A happy ending for our resident gay man? This is The Magicians. So…iffy. LOL!!! Especially after that reveal in Episode 9. So time would tell how the relationship between Eliot and Sebastian the Dark King would resolve itself.

Speaking of…

Pieces of a Puzzle: Using Plot Threads that Work Well in Season Five

While a lot of the seasonal plot arc had to do with the gang dealing with apocalypses, there was also the arc having to do with the Dark King who usurped Margo’s rule of Fillory. Fans got to meet him in a clever introduction during Alice’s and Eliot’s quest to give closure to Quentin. Thus, the tension between Sebastian the Dark King and Eliot began.

In another blog I did ( https://someplace-that-is-else.tumblr.com/post/183733192088/well-fuck-how-i-fell-into-syfys-the ), I mentioned that protagonists were only as good as their antagonists. The more complex the antagonist, the better. And if the Dark King was to be the main villain this season, the writers did him right. On one hand, there was the burgeoning relationship between him and Eliot and the fact that Fillory worshipped him for his ability to push back the invading Takers. On the other hand, it was revealed HE was behind the Takers being in Fillory in the first place and was immortal to being killed. Add on to that the reveal in Episode 9: Sebastian was one of the Chatwin siblings, brother to the Beast…

...still the best villain in this series. His goal: to resurrect his lost love. Given the gang was dealing with the aftermath of Quentin’s death, how could they not relate? How could we? Things were more murky.

Meanwhile, there was the mystery of the signal. As mentioned earlier, the increase in magic meant there were a lot of new traveler magicians coming into their abilities with no one to guide/teach them. Enter Penny the only Traveler alive to tell the tale. At first Penny was reluctant, but he attempted to. That was how he met Plum, one of his students who was hearing the mysterious signal. In the process of hearing the signal, Penny lost his abilities. And to add on to the mystery…Plum...

... was ALSO a Chatwin. Whom daughter…Jane, the Beast aka Martin or Sebastian…remained to be seem.

And then there were two.

Finally, there was the world seed. I had greatly enjoyed seeing Alice morph back into her brainy persona that I remembered from the first two seasons. At the same time, she had started a bantering friendship with another magician who was some expert in possibilities. And from some notes left around by Quentin, Alice and this student had been creating a world seed. The belief…that it could create a whole new world. Leave it to Quentin to be gone, but NOT forgotten.

How that would come into play with Plum, the Dark King’s plans, and the Fillory apocalypse was too early to know. It was recently announced by the SyFy Channel that they had cancelled The Magicians. Insert eyeroll here given my colorful history with SyFy. However, the producers of The Magicians have always mentioned that they wanted to adapted the last book in the series The Magicians’s Land for one of their seasons. And all signs of what I knew to happen in the book revealed this current season was loosely based on that book (in the book Quentin was still alive for example). So it would be interesting to see how it all ended for everyone.

With a bang…or a whimper?

#themagicians #syfychannel #syfy #whoorderedanapocalypse #buffythevampireslayer #buffyreference #glory #seasonfive #taylorswift #quentincoldwater #shakeitoff #aha #takeonme #apocalypse #supergirl #raisingthestakes #plotthreads #characterdevelopment #grief #queliot #writing #narnia #darkking #magic #buryyourgays #powerofthree #puzzlepieces #signal #seed #withabang #withawhimper

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nightqueendany · 5 years

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Leaks, Fleaks, and the Fucking Ending of Game of Thrones

I will be discussing Friki leaks in this post and other potential “leaks” as seen on Free Folk Reddit so if you don’t want spoilers, don’t read! I will also be discussing THAT ONE theory/leak I freaked out about several weeks ago and refused to talk about except to a few people who private messaged me about it.

I will be theorizing heavily in this post in an attempt to put all the “leaks” together so take this all with a grain of salt. I am not a primary source or even a secondary source for this information, so what I say here could very well be 100% wrong.

“Leakers” I am pulling from in this post:

Frikidoctor

BoatSexBaby

ThrowItAway / DeathWisher

TyrionKillsEveryone

Please keep in mind, I am not a member of the Reddit community (well, have an account, almost never use it), so I am unfamiliar with certain users on the site, what has been discussed at length between all users, what’s been refuted if it’s not on the front page of Free Folk, and what comments any of these users have made if they’re more than a few weeks old. Please also note I am not a native Spanish speaker so I have to read Friki’s stuff from translations so if the translations are incorrect, I will be. If anyone has any additional input, please feel free to reblog to correct any misinformation I may include in this.

First off, Friki.

As we’ve seen from Friki’s Season 7 leaks and his incredibly detailed leaks about 8x01, Friki is legit. There really is no arguing with this so I believe it is pointless to do so. However, we must keep in mind Friki is not someone who is on set, his sources are not on set all the time (I believe), and for this season, he has not seen an final scripts. So we likewise must take what Friki says with a grain of salt. Friki was also off by two weeks when it came to when the New York premiere would be, so it’s possible he could be wrong about things or his source doesn’t give him full information or gives him incorrect information.

BoatSexBaby

Again, sorry, I am not familiar with the reputations of people on Reddit FreeFolk so I don’t know if this person is seen as a legitimate leaker or fleaker. However, regardless of whether they have correct information, BSB seems to be a total savant when it comes to putting filming information together! It’s kind of astounding. I had attempted to do this once, but it was completely overwhelming but BSB has done it. It seems BSB’s info so far as what happens in the season is more based on assumptions based on filming info than actual leaks. But the information is still incredibly helpful.

ThrowItAway/DeathWisher

I don’t believe this is the same person but DeathWisher recently linked back to ThrowItAway’s old POST from a few months ago so I’m crediting both of them here. ThrowItAway claims to be related to someone who worked on the Belfast set and had second hand information of what would happen during the Battle for Winterfell in 8x03. Info that was correct: 1) Arya would jump down from somewhere (a tree?) to kill the NK 2) Theon would charge NK and die 3) Lyanna Mormont would become a wight. That has all been proven true and these leaks were from 4 months ago. So the information TIA’s brother gave them about future episodes may be true as well. Though, TIA admits that their brother did not work on sets aside from the Belfast one and so heard the leaks about the other episodes from other crew members - meaning the brother is a secondary source for this info, not a primary one. Also, TIA seems pretty adamant that it’s highly possible multiple endings were filmed.

TyrionKillsEveryone

Now, anyone who knows of TKE from FreeFolk and Friki is probably wondering why the fuck I’m bringing him up right now because apparently everything he said would happen in the first couple episodes has turned out to be complete bullshit (though for some reason, I can’t find those posts/comments, so have to rely on people talking about “leaks” TKE claimed for Eps 1&2). However, out of all the theories I’ve read on the ending to GOT and now with this info from ThrowItAway, I more inclined than ever to believe such an ending so that’s why I’ve included them in this post.

So, what do the “leakers” have to offer us?

Friki:

Friki claims that THE big moment in this final season will be Tyrion’s trial in the Dragonpit and Tyrion’s death. He refutes a previous theory of his that Tyrion and Sansa would betray the Starks and says Sansa will not betray them, Tyrion will (unclear if Dany is included in this - as either Team Stark or on Tyrion’s side...but as Dany is on the side of the Starks now, it appears Tyrion would betray her too...?). Friki says an important scene will take place with five key characters: Jon, Sansa, Arya, Daenerys, and Tyrion. Friki was told this big scene took five days to film (hinting at it being all conflict). The most shocking moment of the season/series should be Tyrion’s death. Friki admits he doesn’t know how Tyrion will die, or why he will betray Team Jon/Dany but just knows that he will. He notes Emilia Clarke never filmed anything in Seville, she was never there. He says Kit Harington was in Seville but did not film a single scene there.

I know people might take this as “fake news” and believe Kit actually did film in Seville but lots of GOT actors were in Seville who I can’t really believe were filming there - most notably, Tom Wlaschiha who played Jaqen H'ghar, Faye Marsay who played the Waif, and Vladimír Furdík who played the Night King.

So, unless Arya never killed the Waif or the Night King in a permanent way, it’s clear HBO just flew in lots of GOT actors to throw people off...OR may have flown them in, along with their body doubles, for the GOT Documentary which will air right after the series finale. More on this in a moment.

BoatSexBaby:

Alright, first off, I’ll start with what BSB may have gotten wrong...unless the NK isn’t completely dead and he somehow has to be defeated again. BSB claimed HERE that 1) Dance of Dragons between NK/Viserion and Dany/Drogon would happen in Episode 6 in King’s Landing and Jon/Rhaegal may be involved - untrue, kind of, this happened in Ep3 2) Golden Company attack Winterfell - TOTALLY FALSE. And preview for next weeks seems to see everyone headed down south to attack Cersei instead (though BSB did say survivors retreat south so maybe this is the true part of people going south) 3) NK has real motivations that tie all WW scenes together from 1x01 - maybe. We certainly didn’t see this prior but it could be revealed in future. The way the NK was defeated just felt way too clean to me. If he’s really gone and was a red herring, that’s one elaborate 8000 year old red herring. FFS.

What BSB does actually have to offer, is her dedication to documenting filming news. According to BSB, we know: 1) the green dragon mount was moved prior to filming King’s Landing battle scenes hinting at it being used in those scenes - however, the only actor available for filming such scenes was allegedly Vladimír Furdík, as Kit and Emilia were not in Belfast at the time. 2) Body doubles in Seville who may have been filming or may have been part of the GOT documentary were doubles for: Sansa, Tyrion, Jon, Brienne, Grey Worm, and Robin Arryn. BSB is also of the belief that Kit actually did film in Seville but filmed night scenes? And that there were CGI/VFX sequences for the Dragonpit scene or Tyrion’s trial. Friki said the Dragonpit scene included no CGI so it’s unclear which is correct.

ThrowItAway/DeathWisher

As stated, ThrowItAway gave leaks for 8x03 several months ago that ended up panning out so, it could be possible their other statements about future episodes could be true too. TIA posted some things and also messaged DW some spoilers for the ending. Some key points, but certainly not ALL: 1) Varys betrays Dany because he believes Jon would make a better ruler (something TKE also speculated) and Dany has him executed 2) Dany attacks King’s Landing 3) Tyrion convinces Jon that Dany is a danger to him and the Starks and Jon kills Dany 4) Prior to her death, Sansa and Tyrion appear to plot against Dany/try to separate her and Jon 5) Sansa has made some sort of promise to Tyrion that she and him will rule together but she betrays him in the end 6) Jon has two possible endings: Death or reforming the Night’s Watch (unclear how he would die).

This is a lot to unpack here and it should be noted that TIA has stated these “leaks” are to be taken with a grain of salt because a) their brother did not work on these episodes and heard this from other crew members who did work on them and b) they seem highly convinced that multiple endings were filmed and Emilia Clarke has talked about filming fake scenes.

TyrionKillsEveryone

I haven’t been able to see TKEs old posts on the early episodes and have only read their “leaks” from other commenters who have gleefully bragged about how incorrect TKE was. I think one of the major TKE fleaks was that Dany would find out she was pregnant in 8x01 and that Varys would try to kill her with poison (because he believes she’s becoming like Aerys and Jon would be a better King) but Arya would save her. This clearly did not happen in 8x01 so it’s easy to write off TKE for just this alone.

However, TKEs points about the later episodes just STRUCK me and affected me deeply which is why I’m going to include them. TKE says that yes, Tyrion will have a trial, as Friki said, and Tyrion will be on trial for betraying Jon and Daenerys and killing Jon - how does Tyrion kill Jon? He stabs him in the back in the black cells of the Red Keep after taking him down to see Dany - who is Cersei’s captive - where she is bleeding to death either from being stabbed by Bronn or complications with childbirth. I think both were mentioned, Unclear which TKE was leaning more toward.

At Tyrion’s trial, TKE says Tyrion will have an epic speech like he did in his trial for killing Joffrey, and will name everyone present as guilty as him. That their petty wars and fights all caused harm to the smallfolk, damaged the country, something like this. And at the end of Tyrion’s speech, Bronn will ignite the wildfire under the Dragonpit like he did on the Blackwater, and blow everyone up - killing every single major character - Arya, Sansa, Davos, Tyrion...anyone else who is present in the Dragonpit. They’ll all die.

TKE claims the last shots of the series are the smallfolk rebuilding Westeros, living their lives in peace, because they have no lords preying on them, telling them to fight their wars, etc. And that is the “Dream of Spring.”

What does it all mean?

It’s pretty difficult to tell at this point because the Night King is defeated (or so we think) and the living are somewhat intact - at least many of our major characters - Jaime, Brienne, Grey Worm, Jon, Sansa, Dany, Arya, Tyrion, Varys, Pod, Tormund, Sam, Gilly, the Hound...they all got out of the Battle with barely scratches on them. It’s incredibly disconcerting. As if luring us into this false sense of security.

But this false sense of security is exactly the kind of thing GOT would do before really bringing down the sledgehammer to our hearts. So, what does it all mean?

1) Three of the leakers save TIA have specifically talked about Tyrion’s trial. To me, this seems highly likely to happen.

2) BSB has some amazing evidence for why there will be CGI/VFX during Tyrion’s trial but I think her assumption about what this could mean is wrong - it won’t be a dragon fight (though there will be dragons in King’s Landing at some point). The VFX for Tyrion’s trial could be for the wildfire explosion that TKE talks about.

3) If TIA is correct about Sansa leading Tyrion on only to betray him in the end and take power for herself, then it makes Sansa a villain too. And this was the last piece of info I was really waiting for because...

It is KEY to believing TKE’s ending.

Because with everyone plotting against everyone and fighting for power, it means they learned nothing from having to band together to defeat the Night King and are all still fighting their petty wars and as Tyrion will (maybe) say in his trial, they’re all guilty.

TKE said something about Sansa inviting all the Lords/Ladies of the realm come to Tyrion’s trial so they can simultaneously swear her their allegiance. This would support why Robin Arryn is at Tyrion’s trial. Because without this, it seems odd that he would be there at all. We haven’t seen him since Season 6, though his armies have been present in S7 and S8.

While I am not sure which to believe out of TIA and TKE’s endings for Jon and Dany - Jon-kills-Dany or Jon-and-Dany-die-together - I am pretty convinced of this theory that Tyrion, does in fact, kill everyone with wildfire in the Dragonpit. You guys might think I’m crazy, might hate me for pointing this out, but I just feel this ending in my bones and have for several weeks. I was kind of hoping for a Jon-Dany-house-with-a-red-door ending - they get resurrected or don’t die and live in hiding or amongst the small-folk and get a somewhat happy ending. But I am not holding my breath.

And for those who want a little bit more further proof of a TKE-like ending, for those saying things like “What’s the point?” “Who would rule?” “So it’s just anarchy?” “Is this some weird eat the rich bullshit?” - I have one more piece of evidence for you.

D&D said the ending to GOT was hidden in their Spotify playlist. And one of the songs on the playlist was Black Sabbath’s War Pigs. The lyrics of which are:

Gen'rals gathered in their masses, Just like witches at black masses Evil minds that plot destruction, Sorcerer of death's construction In the fields the bodies burning, As the war machine keeps turning Death and hatred to mankind, Poisoning their brainwashed minds Oh Lord yeah

Politicians hide themselves away They only started the war Why should they go out to fight? They leave that role for the poor, yeah

Time will tell on their power minds, Making war just for fun Treating people just like pawns in chess, Wait 'till their judgement day comes, yeah

Now in darkness world stops turning, Ashes where the bodies burning No more War Pigs have the power, Hand of God has struck the hour Day of judgement, God is calling On their knees the war pigs crawling, Begging mercies for their sins Satan, laughing, spreads his wings Oh Lord yeah

This is why, weeks ago, I posted this Jorah quote:

youtube

In the books, it’s a bit better: “The common people pray for rain, healthy children, and a summer that never ends," Ser Jorah told her. "It is no matter to them if the high lords play their game of thrones, so long as they are left in peace....They never are."

And it’s why around the same time, I also posted this:

youtube

“Animals are true to their nature. And we had betrayed ours.” All the living, despite fighting together against the dead, have still betrayed their nature, fighting against each other, fighting for power. When they should be working together and feel lucky they’re all alive.

In the books, Brienne V in AFFC, there is a great speech commonly called by the fandom, “The Broken Man Speech” - which, coincidentally, the episode above is called. Not for no reason, I believe.

Some significant quotes from the book version of the Broken Man speech:

“Broken men are more deserving of our pity, though they may be just as dangerous. Almost all are common-born, simple folk who had never been more than a mile from the house where they were born until the day some lord came round to take them off to war. Poorly shod and poorly clad, they march away beneath his banners, ofttimes with no better arms than a sickle or a sharpened hoe.”

“They see the lord who led them there cut down, and some other lord shouts that they are his now."

“...before long they are stealing from the living too, from the smallfolk whose lands they’re fighting in, men very like the men they used to be.”

“They don’t know where they are or how to get back home and the lord they’re fighting for does not know their names, yet here he comes, shouting for them to form up, to make a line with their spears and scythes and sharpened hoes, to stand their ground. And the knights come down on them, faceless men clad all in steel, and the iron thunder of their charge seems to fill the world … “And the man breaks. “He turns and runs, or crawls off afterward over the corpses of the slain, or steals away in the black of night, and he finds someplace to hide. All thought of home is gone by then, and kings and lords and gods mean less to him than a haunch of spoiled meat that will let him live another day, or a skin of bad wine that might drown his fear for a few hours. The broken man lives from day to day, from meal to meal, more beast than man. Lady Brienne is not wrong. In times like these, the traveler must beware of broken men, and fear them … but he should pity them as well.”

And for those saying this can’t possibly be GRRM’s message....well, it just might be:

youtube

Now, how well have D&D executed such an ending if this is, indeed, the ending?

I would say, pretty shittily. It’s not an A or an A+. Because unlike Breaking Bad, we’re still rooting for these characters with only 3 episodes to go. In Breaking Bad, you get that Walter is a villain, he’s “The one who knocks.” He’s the bad guy and he deserves what’s coming to him. Jesse was a prisoner in the end so we’re glad he gets out and gets free.

But with GOT, if everyone ends up being a villain and dying for their sins, it’s shitty. I have faith GRRM would do much better with such an ending. Give us other characters, the smallfolk, to care about to ease the pain of losing our other faves, the mains. But with only 240 minutes to go, there’s no way D&D could make us hate the current characters in a way that makes us also not hate the writers too and the entire series. It’s like...well fuck, why did I ever care in the first place?

Especially as a Dany fan because her whole story has been about what GRRM talks about in the video above. Yes, she has to have this war to take power against Cersei, but she’s the ONLY character who wants to change, make real change that will make a difference to the common man. She wants to “break the wheel that has rolled over rich and poor to the benefit of no one but the Cersei Lannister’s of the world.” She wants to do that!

So if this is the GOT ending, I’m pissed. Because it’s as if Dany’s purpose is just...forgotten. Or not worthy because she wants to take power and get revenge for her family at the same time. Perhaps it’s because of this, I still am holding out one last sliver of hope that Dany and Jon survive, because out of everyone, their motives most closely align to this ideal.

But again, not holding my breath.

And if you guys don’t hate me after reading this, let me know what you think!

#game of thrones #got spoilers #friki leaks #frikidoctor #got speculation

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aion-rsa · 3 years

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Game of Thrones at 10: The Series That Changed TV Forever

https://ift.tt/3dn9imD

During the Game of Thrones series finale, there’s an exchange between Jon Snow and Tyrion Lannister that is as much about the series’ legacy as it is the characters’ inner turmoil. Only a handful of scenes earlier, these same two men conspired to murder the woman they called their queen, Daenerys Targaryen. Now living with the consequences of that heavy deed—with Jon again banished to the white hell Beyond the Wall and Tyrion conscripted to a lifetime of public service—a tormented Jon asks his friend was it right what they did?

“Ask me again in 10 years,” Tyrion says tersely. After all these years, the craftiest of Lannisters finally has learned he doesn’t know what he doesn’t know—and who really knows how the decisions in the here and now will appear to posterity? It’s easy to speculate that showrunners David Benioff and D.B. Weiss felt the same way about their controversial ending to Game of Thrones. And like Tyrion and Jon, they probably could not anticipate the entire fallout that was to come.

It’s been two years since the contentious farewell to the series that defined its pop culture decade. But define it, it did. Running from 2011 to 2019, the show’s rise and fall traces eerily close to the rhythms of its era, perhaps more so than any series ever produced. It launched as the biggest gamble in premium cable history, and it ended as the most popular televised phenomenon of the 2010s. Some have argued Game of Thrones was the last of the “watercooler shows.” Even the divisiveness of its finale was monumental, shaping the next era of TV in still unseen ways. Pop culture really does live on in the realm forged by HBO’s fire and blood.

So while it hasn’t been a full 10 years since Tyrion dodged Jon’s question, a decade has passed from the moment three riders in black emerged from an icy gate, and Game of Thrones premiered on HBO. That’s more than enough time to ask what did Game of Thrones mean to us and the television landscape it shaped?

The Coming of Winter

Television was a different universe in April 2011. Netflix was still that mail rental/streaming company which didn’t produce its own content, storytelling was full of cynicism, and cable television remained king. But within that fiefdom, HBO was facing a problem: the once undisputed ruler of premium cable drama was now seeing challengers for its throne.

“HBO was still coming out of The Sopranos, The Wire, and Deadwood,” Michael Lombardo, then-HBO programming president, told James Hibberd for Fire Cannot Kill a Dragon, an oral history on the making of the series. “We were getting questions like, ‘Why did you not get Mad Men? How come you didn’t pick up Breaking Bad?’ We had been the place for all things quality drama and were looking to regain our footing. But Game of Thrones didn��t seem to fall into our category.”

In retrospect, it obviously should have. Based on George R.R. Martin’s sprawling A Song of Ice and Fire book series, the show was pitched (somewhat inaccurately) as The Sopranos meets Lord of the Rings. Martin may have written his novels to be unfilmable, but at HBO, Benioff and Weiss would create an impressive facsimile of his Westeros on a budget.

Very much a product of its time, Game of Thrones came out at the tail-end of the “antihero” era of television, the period where HBO led the way in populating TV with flawed if not outright repugnant protagonists. A reaction to television being defined by network censorship for all the decades before the 21st century, the sliding spectrum of lapsed morality between Don Draper (Mad Men) and Tony Soprano was exhilarating in its time. But unlike all those series, Game of Thrones was offering a vast tapestry of protagonists in its ensemble, which provided an even greater range of moral complexity than most popular American shows at that time.

There were fantasy stalwart heroes like Lord Eddard Stark (Sean Bean) and his oldest sons, but also enigmas such as Daenerys Targaryen (Emilia Clarke), antiheroes who were introduced as full-on villains (read: most of the Lannisters), and young heroines whose nigh transcendentalist adventures belied darker traumas, such as Arya Stark (Maisie Williams). It was both of its moment and a far cry from the cynicism of other popular shows, not to mention the popular image of fantasy, which on the small screen was closer to Xena: Warrior Princess than Lord of the Rings.

“There were a fair number of reasons not to do it,” Carolyn Strauss told Hibberd about the show’s early days at HBO. As the former HBO programming president who first greenlit the Game of Thrones pilot, and then became executive producer on the series, Strauss can recall the apprehension she felt toward the idea of making a fantasy series for adults. “There are many ways a fantasy series can go south. Any show that relies on a mythology that isn’t thought out in enormous detail can go off the rails. You’re maybe good for a season or two, and then after that you start running into brick walls.”

Yet it was Thrones’ moral complexity in such a dense, heightened world that caught Strauss off-guard. “The way [Benioff and Weiss] told the story in the meeting made it sound much more involved and character-driven than I usually feel from fantasy stories. It was not good vs. evil, but characters who had elements of both things.”

That level of nuance was shocking when Game of Thrones premiered in 2011. Nowadays the series is often reduced by TV critics as being simply the show that introduced convincing blockbuster spectacle to the small screen. But in its early seasons that really wasn’t the case. While Benioff and Weiss were quietly aware of how massive in scope Martin’s novels eventually became, they sold the series to HBO as a “chamber piece,” not a symphony. It’s about intimate family drama—at least in the first season/novel—not magic and battles.

In that first episode, there was hardly an unsullied viewer who didn’t gasp when sweet 10-year-old Bran Stark (Isaac Hempstead-Wright) was pushed out a window by Jaime Lannister (Nikolaj Coster-Waldau). The thrill wasn’t seeing dragons lay waste to armies; the excitement was found in character moments or decisions with drastic repercussions on every other scene that followed. At its heart, it was a fantasy series drenched in human psychology and human history (particularly that of the English War of the Roses), and those hooks made the eventual ice and fire spectacle that much more extraordinary five years down the line.

Game of Thrones didn’t come out of the gate as a culture defining event—its series premiere netted just 2.2 million viewers, about 1.6 million less than HBO’s similarly epic and ill-fated Rome—but like the armies of one silver haired queen from the east, it’s rise seemed blessed to gradually, and unwaveringly, build until the bloody end.

A Golden Crown

The moment that personally got me wholeheartedly invested into Game of Thrones, however, wasn’t Bran’s fall from a Winterfell tower, nor was it Peter Dinklage’s Tyrion verbally humiliating his demon seed nephew. The scene where the show fully clicked was in the sixth episode, “A Golden Crown.” Up until that moment, the series was dense on world-building and lore, but the narrative was so finely tuned, and hidden in such a tightly wound coil, that it could feel impenetrable at first blush. It also seemed to be built on a certain set of fantasy archetypes, such as the noble hero Ned Stark and the old fat king, Robert (Mark Addy).

Another seeming archetype was Viserys Targaryen, a malicious blonde-haired misanthrope played so ably by Harry Lloyd that one would recoil when he was on screen. Technically, he’s a lonely exiled prince whose family lost its dynasty. But as seen through the eyes of Clarke’s put-upon and abused Daenerys, Viserys’ younger sister whom he mercilessly abused, Viserys was really just an ugly bully. The kind you might imagine Harry Potter’s Draco Malfoy growing into, except with the creepy addition of a leering, incestuous gaze. Also like Draco, I feared Dany would have to endure his pestering for the rest of the series.

Then “A Golden Crown” occurs, and Viserys is plucked from the series like leaden dead weight. Moments before his death, Viserys has realized that no matter how much he calls himself king, no one will follow him. Meanwhile Dany has won the hearts of the Dothraki, a nomadic warrior culture. She now rules as their Khaleesi (queen) alongside Khal Drogo (Jason Momoa), the husband Viserys sold her to. Viserys expected Drogo to become his mercenary, but by episode 6, that obviously is never going to happen. So his simmering resentment seemed to suggest Viserys would undermine Dany’s fledgling power and character growth at every future opportunity. But at the end of “The Golden Crown,” the self-styled king threatens Daenerys before the whole Dothraki court, and perhaps more chillingly in Dany’s eyes, threatens to cut out the baby growing inside her womb if he does not get his way.

Drogo ultimately gives Viserys what he wants: a crown. Only it’s made from the molten hot liquid gold he’s melted down to pour on the wretch’s head. Daenerys watches the gold slowly boil before the deed is done, and she sees her brother begging for his life. But the moment he raised her hand against her unborn child, the man was already dead to her. After Viserys’ head is crushed by the burning gold running through his skull, she doesn’t even blink. Rather Clarke says with maximum disaffection, “He was no dragon. Fire cannot kill a dragon.”

Tamzin Merchant Brings Back Mystery of Unaired Game of Thrones Pilot and Daenerys

By David Crow

Who are the New Characters in Game of Thrones Prequel, House of the Dragon?

By David Crow

This hard left turn in the plotting was so sudden and shocking that it signaled what the series would become: a narrative where every character’s action and decision (at least pre-season 7) had potent consequences. Narrative conventions could be cut short in an instance. In this case, it was one that left viewers thrilled, but a few episodes later the same creative instinct would shatter them when the series’ main lead, poor Ned, lost his head. Such twists led me to buy all of Martin’s books and read them within a few months.

However, there was something more unsettling about the sequence. Daenerys Targaryen, our ostensible hero in her own storyline, did not flinch or bat an eye at her brother’s demise. He was rotten to the core, but Dany was no more affected by his death than she would be at the sight of hundreds of strangers crucified along a road on her order (an event which would occur later in the series).

The ambiguity of some of these characters, including Dany who in the early seasons was initially presented as an impending threat to the Starks and Lannisters a world away in Westeros, is what gave the drama so much life. There were reasons to root for nearly every faction and reasons to have pause with each character. You knew, eventually, your favorites would be in mortal conflict. While featuring a greater array of heroes than any of the other popular cable shows of the early 2010s, Game of Thrones also wallowed in moral relativity and bleakness. In 2011, it was like a high; in 2021, that kind of televised storytelling has largely fallen out of popularity.

Thrones also had a hand in that shift.

“Tits and Dragons”

For all of Game of Thrones’ good qualities, they cannot be extracted from its sins. Ten years ago, premium cable networks indulged in heavy use of obligatory nudity (mostly of young women) to keep viewers watching. Game of Thrones didn’t invent this, but it pushed it to its limit in the early seasons, even leading to the new term of “sexposition,” which describes when a show cynically includes images of naked women, usually portrayed as prostitutes in Thrones’ case, in the background during dry exposition.

Even before Thrones ended, these elements had aged badly, and were notably toned down in the later seasons. But they still occurred, even as gags, up to and including the final year. Neil Marshall, who directed two battle episodes on the series, even recalled in 2012 a disquieting note he received from an executive on the episode “Blackwater.”

“This particular exec took me to one side and said, ‘Look, I represent the pervert side of the audience okay?’” Marshall said. “‘Everybody else is the serious drama side, [but] I represent the perv side of the audience, and I’m saying I want full frontal nudity in this scene.’”

This cavalier attitude about using (some might say exploiting) young actresses who are anxious for a job on a popular series in such a gratuitous way contributed to the creation of a new profession in Hollywood: the intimacy coordinator. The actual HBO series which finally triggered this was The Deuce, not Game of Thrones. Still, Thrones most famously contributed to that sensationalism on television. So much so one of its most lauded guest stars, Ian McShane, deadpanned the show was only about “tits and dragons.” It became the figurehead for a media culture so problematic that there needed to be a reckoning at all networks and streamers in the post-#MeToo era.

That those elements on Game of Thrones were so often used in association with rape or sexual violence has led to a long overdue reevaluation of how stories with women are told in popular media—particularly from writers’ rooms dominated by men.

In truth, Game of Thrones has a litany of fascinating and complex female characters, many of whom end up in positions of power during the final seasons despite the grueling restraints of a medieval patriarchal society. Stars like Sophie Turner, whose Sansa Stark concludes the series as Queen in the North, has argued the series is actually quite feminist in its depiction of a wide range of nuanced female leads navigating medieval misogyny. And Clarke has said the show has taught her to “embrace her feminism.”

Yet both actors’ characters were forced to endure scenes of rape and sexual assault on the series, quite graphically in Clarke’s case during the first season. Even 10 years ago, viewers were rightfully disturbed by that. Clarke’s own thoughts on the use of nudity in the first season have also evolved. These elements, which only seem more glaring to the modern eye, have inspired a shift in how all “adult” stories are told, as well as how fantasy stories and historical dramas are received by audiences increasingly critical of one-sided titillation.

Those scenes likely contributed to the fan backlash when Clarke’s Daenerys, who suffered so much early on only to remake herself as a godlike savior, was revealed to be painfully mortal… turning into the villain of her own story.

A Legacy of Conflict

Game of Thrones began as a gamble for HBO, but even in its first year the bet was paying off when the fantasy show with dragons and ice zombies was nominated for Best Drama Series at the Emmys. Dinklage would go on to win his first of four Emmys for playing Tyrion that year, and even as the show lost the top prize then, it would eventually win Best Drama Series in four subsequent years.

It’s also worth noting that Dany’s dragons were barely present in the first season. Before the 2011 finale, they were creatures of a bygone age that, we’re told repeatedly, have long gone extinct. But in the final minutes of season 1, her ancient dragon eggs hatch, and a scene of biblical import plays out when she emerges from ashes as the Mother of Dragons. With each following year, Dany’s children grew larger in size, as did the pyrotechnics they unleashed. They were not much bigger than cats when they burned down a city of slavers in season 3. By the show’s end, they were the size of 747 jets while laying waste to Lannister armies.

As the creatures grew, so did Game of Thrones’ budget and, just as importantly, its audience. No other series in the modern era grew bigger with each season, from the cradle to its grave. In an age where Netflix invented the term “binge watching,” Game of Thrones remained the rare holdout of old school appointment television, with most audiences simultaneously watching live when the episode premiered on Sunday nights. Entire cottage industries based on fan speculation were born, and reading Martin’s books like they were sacred texts with hidden meanings that only the most learned scholar could translate became a pastime.

The first season premiered with 2.2 million people watching; the final season debuted with an audience of 17.4 million viewers. The finale brought in 19.3 million viewers. By comparison, the most popular scripted drama series on network television in 2019, This is Us, was averaging around 7-8 million viewers.

Yet as its popularity grew with its dragons, so did a vocal sense of dissatisfaction. There was a confluence of factors involved, many of them having to do with showrunners Benioff and Weiss running out of Martin novels to adapt. While they had a rough outline of how the series would end, the final two seasons of Game of Thrones arguably felt at points like just that: an outline the series was hitting by bullet point in each episode, often without the intricate plotting that made the early seasons and novels so addictive.

Yet it was really only during the series’ final two episodes, as a long built-up dragon fulfilled his destiny, that the rift between audience expectation and artistic intent erupted into a social media outrage. After watching Dany’s power build and build, and spending the final seasons with her pivoting from a threat to the Starks and King’s Landing to their ally against the Army of the Dead, Dany did what the series had long been famous for: she took a hard left turn.

In the final few hours of the series, Daenerys burns down the Westerosi capital, kills tens of thousands of people, and takes the Iron Throne in fire and blood, just like her ancestors. It was not the ending audiences, including myself, wanted for Dany, and it was an ending that disappointed even Clarke. Especially Clarke.

Game of Thrones Season 8: This Was Always the Ending

By David Crow

Game of Thrones: George R. R. Martin on How Hodor’s Origin Story Was Changed for TV

By Louisa Mellor

In many ways, it is one of the most Martin-esque elements of the series’ final years. You were promised high fantasy excitement and then got the cold, harsh reality of death and suffering. The fairy tales and fables which inspired modern fantasy are often derived from uglier histories and troubling sides of human nature. This is what conquest looks like, be it by dragon or sword.

Unfortunately, the execution of the ending left something to be desired. And there are plenty of write-ups out there to unpack the problems with the final season. Nonetheless, it is fair to wonder if for the first time in the series’ whole run, the show was finally out of step with the zeitgeist, and the subversion that was celebrated a decade earlier was no longer of the moment? When the show premiered, it was a realpolitik fantasy about the corrupting influence of power and how it can be wielded. When the series ended, corrupt abusers of power were on the rise around the world. Even Martin noted it was like King Joffrey had come to the White House.

The series not only denied viewers their favorite theories for the series’ end, but also a sense of escape from a world that was feeling uncomfortably closer to Westeros than it had eight years earlier.

In its own realm though, Game of Thrones was a series that shaped the modern television landscape. Spectacle on a scale comparable to Hollywood blockbusters is now deemed as attainable by content creators with deep enough pockets. Amazon paid $1 billion for the television rights of Lord of the Rings alone. But the industry has also reacted to Thrones and the antihero era it came from with a growing sense of wariness, too.

One of Game of Thrones’ contemporaries from its heyday was The Walking Dead. As another gritty, violent, and at times nihilistic genre show that became a mainstream hit, The Walking Dead started in the same TV season as Thrones. And one of its most pivotal writers from those earlier glory days, former showrunner Glen Mazzara, recently tweeted about the change in the industry’s tenor.

“TV development today is all about optimism,” Mazzara wrote. “Buyers don’t want anything dark or bleak.” While he then went on to add that he’s nonetheless writing the “darkest [and] scariest” thing of his career, the point remains that what was once the most popular thing on television, first as austere dramas and then as gory spectacles in shows like Thrones and The Walking Dead, is out of step in a modern TV landscape that has reacted to those shows.

Ironically, genre is more popular than ever, but the moral ambiguity and relativity that attracted HBO to Benioff and Weiss’ pitch is not. Rather than antiheroes, television is increasingly dominated by good natured and heroic individuals (Marvel Studios is even making the most popular shows). Characters, meanwhile, are proactively trying to solve social problems, not reveling in how broken things are. Creative spaces are also thankfully becoming more inclusive, giving a platform to a wider range of voices, including writers’ rooms where someone might be able to say the equivalent of, “You know, maybe Sansa shouldn’t be raped by Ramsay Bolton?”

This environment is a reaction to the popularity and then backlash endured by Game of Thrones. Which means our relationship to the series is far from over, even as the show’s run becomes an increasingly distant memory.

And yet, there’s (clearly) much to be said about what Game of Thrones accomplished in its time, right down to ending the way it did. It’s hard to imagine a show becoming that popular again and existing with such artistic freedom, and for its creators to be allowed to end it where they would like. Even in the 2010s it was rare, hence The Walking Dead lumbering onto an eleventh season this fall as a pale shadow of its former self. When that series ends, it also really won’t be the end, with more spinoffs, movies, and other forms of content planned.

Under new management, HBO has signaled they’ve developed a similar temperament, even with Game of Thrones. Benioff, Weiss, and apparently Martin saw their story end exactly the way they wanted to (even if few agreed with them). But the network has announced five live-action spinoff series in various stages of development, plus an animated one on HBO Max. In the age of endless streaming content, it’s easy to imagine that every corner of Westerosi history will be explored if WarnerMedia thinks there is an appetite.

Our feelings toward the legacy of Game of Thrones have evolved over the last 10 years, and will likely continue to do so for another 10. But it was a show that hit the right beats at the right time, and changed the culture while doing so. It burned brightly and then snuffed out its candle on its own terms. You don’t have to wait a decade to appreciate how rare, and unforgettable, that really is.

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These Are the Best Things Happening on ‘Game of Thrones’ Right Now, Part II

Hey y'all, something bad is coming on Game of Thrones, so just real quick, let's remember the good times in episodes 3 and 4, when teenage assassins were reuniniting with their teenage ruler sisters and teenage psychic brothers. When Littlefinger was getting ragged on so hard. When Jon and Davos had nothing better to do than chalk up the cave walls of Dragonstone with little bitty zombie drawings to prove a point and flirt with Missandei, respectively.

There were Catspaw Dagger references for the most careful of watchers, Jon saying "I'm not a Stark" as a Targaryen dragon flies overhead for the mildly observant viewer, and there's Jon and Dany touching each other's wrists in caves for everyone else who's just like, I don't understand what's happening here, I've never understood what's happening here, I don't care what's happening here, but I will be here until it's all over and Dany has married her nephew, SO HELP ME R'HLLOR.

So, once again, this is not a recap, not a review, just a simple, definitive, and all-encompassing list of The Best Things Happening on Game of Thrones right now (which is to say last week and the week before):

Almost Everyone Playing the Game of Thrones Is a Baby-Child

It suddenly became clear in episode 3 that while the lead characters in Game of Thrones don't seem particularly young when they are commanding their armies and large, magic animals—when they come face to face in a throne room, they suddenly seem like two particularly formidable and hormonal teenagers facing off at a Model United Nations simulation. Except, y'know, one of them recently died and was resurrected by a thousand year old sexy priestess, and the other has a bunch of giant toddler dragons and, like, ended slavery, I think.

I'm, of course, speaking of Dany and Jon, the two most popular rulers at Westeros High. Now, since Kit Harrington and Emelia Clarke are each 30, you wouldn’t think they would seem that young…but they're also both, like, 5'1 if they're an inch, so when they first came face-to-face in episode 3, they more often resembled a couple of adorable Shiba Unus tussling over a Kong ball and sniffing each other's butts, instead of two rulers arguing over getting to save the world in the specific way they want to.

In that sense, their first meeting was a particularly precious reminder of how young they still are. Yes, all the GoT kids were aged up three or four years from the books at the start of the series, but Dany and Jon are still only 22 or 23 as they fight to save the world from heretofore unknown evils—and by that, I of course mean Queen Cersei making ever woman get her goofy pageboy haircut.

When Missandei announces Dany like one of Blair Waldorf's be-headbanded lackeys, Game of Thrones briefly turned into a Disney Channel Original movie, bringing along all the clashing dynamics of darkness and precociousness a DCOM denotes. You can practically hear Missy saying, "You stand in the presence of Daenerys Stormborn, President of the Student Council, rightful member of the A/B Honor Roll, rightful owner of a used Ford Prius she got as a reward for said A/B Honor Roll, Haver of an Afterschool Volunteer Internship at a Veterinary Office, Breaker of Bullies, the Sister of a College Sophomore Who Lets Her Wear His Old Fraternity Formal Shirts So People Think She's Cool, Voted Most Likely to Play with Fire and Like It a Little Too Much, and the Survivor of a Particularly Bad Case of Strep Throat Last Year.

You scared yet Jon Snow, you creepy-loner-who-doesn't-know-he's-hot-and-smokes-cigarettes-behind-the-school-but-secretly-makes-all-As-and-has-a-heart-of-gold-Patrick-Verona-lookin'-ass, you?

If Dany hasn't stood up on the Iron Throne and tearfully choked her way through a rendition of the "10 Things I Hate About Jon Snow" by the end of all this, I will be shocked. Because, as we will discuss later, Dany doesn't hate King Jon (King Snow? No, that doesn't sound right, does it Davos)…not even close, not even a little bit, not even at all.

The Stark Children Are Happy…Well, As Happy As a Live Stark Child Can Be

Of course that's not even mentioning the actual children roaming around Winterfell with severe PTSD and a recently developed case of the huggies. Sansa's running the Stark show at Winterfell while Jon is away at Dragostone giving up all his weapons and doing arts and crafts in the underground caves, and in her time as a prisoner of various evil families, she seems to have picked up quite a knack for organizing grain supplies and commanding that leather be added to armor because the dipshits apparently haven't heard that WINTER HAS COME.

I thought Sansa would be cool for like an episode or two and then go back to being dreadful, but her recent transition from Little Sister to Big Sister inside the walls of Winterfell seems to be suiting her well. When Meera finally brings Brann back home and after dragging his 6'4 ass all over the North, she gets exactly zero sibling hugs because her brother died protecting Brann—justice (and a warm shower) for Meera—but the newly minted Three Eyed Raven gets a sweet embrace from big sister Sansa.

He returns the love by informing Sansa that now he can see everything that's ever happened in the world, including the worst night of her life when she was forced to marry Ramsay and he raped her.

Hey Brann, I know it's not your fault that Jaime Lannister pushed you out of a window, and your dad got beheaded, and Theon fake-torched you, all setting you on a fan-least-favorite path toward becoming the Three Eyed Raven but—you totally suck! Someone else can tell Jon he's a Targaryen if it means you having to be all weird to your sisters now that you're finally, gloriously, wonderfully reunited. In this extended high school analogy I've been drawing, Brann is the kid who took one philosophy class at the community college for extra credit and thinks he knows everything now. You don't know shit, Brann!

Okay, fine, Brann knows some shit, and is obviously intended for some higher purpose in this game of thrones or he surely wouldn't have been—quite literally—dragged through all seven seasons. I just wish that purpose was being a nice supportive brother to his super-survivor sisters, which brings us to…

ARYA IS BACK AT WINTERFELL AND SHE SPARRED WITH BRIENNE AND MAYBE THEY CAN GO LADY-ARMOR SHOPPING TOGETHER NOW, WHAT'S GOOOOOOOOOOOOOOOOOOOD?!

As it turns out, the already disparate Stark children have become even more contrasted with time and (grueling, awful, traumatic, painful, oftentimes unbelievable) circumstances. Sansa, who was a pretty girl who wanted to marry a prince, is now the Wardeness of Westeros' largest region with a keen political mind and a dude who would fucking love to marry her that she's constantly mocking. Arya was a tomboy who had a real good time at her afterschool swordsmanship lessons, and has since grown into a stone-cold assassin who cuts people's faces off and magic-pastes them onto her own face, then feeds those recipient of the face-cutting to his own family, and then also kills that entire family. Brann has turned from a boy who liked to ride horses into Westeros' creepy Miss Cleo, and also, he no longer goes by Brann, and also, is a pretty constant dick to the women in his life.

That all kind of made me love their reunions even more though. Arya saying, "Do I have to call you Lady Stark?" as her first greeting to Sansa was incredible. Sansa replying, "Yes," very much in the way of Old Sansa, but then turning around and hugging Arya and bonding with her about how much pain they've lived through and how everything they used to know is dead except for each other was even better. And Sansa telling Arya that "Brann has visions," in the same tone of voice you might warn a guest that your little brother has recently gotten really into making his own chainmail was EVEN BETTER. There was also Jon all the way over at Dragonstone being all "She's startin' to let on" when Tyrion says that Sansa is smarter than she lets on—love those two, sure hope Littlefinger doesn't turn them against each other and shatter my heart into a million pieces!

But simply the best was watching those three rough and tumble Starks wheel and walk their way back from the Weirwood tree and into their home at Winterfell, down a couple family members, not really sure of who they've become, and probably on the brink of being murdered by ice zombies, sure…but they're also together—three lone wolves restored to a pack—and, for now, they're alive.

Of course, it is hard to ignore all that side eye Sansa was giving Arya as she sorted that out that Lil' Sis super-duper was not kidding about having a murder list. But Sansa isn't on said murder list, and hey, she also once fed a dude to his (canine) children, so maybe this girl gets it. Maybe everything will be fine and once Jon and Dany save the world, they can all go in on a family beach house together and parasail on dragons. Speaking of…

THAS-A-MUTHAFUGGIN-LOOT-TRAAAAAAAIN

I've always thought of Weiss and Benioff as kind of cool young dudes who were surprisingly hot and surprisingly married to Amanda Peet (which I would want to brag about in Emmy speeches too, no shade). But for some reason, recently, they've started to seem more and more to me like kind of clueless dads who, were we ever to see their legs in the after-show interviews, would be wearing pristine New Balances with loosely fitted light-wash jeans.

I don't know if it's because I recently fell into a deep dark YouTube black hole where I watched clips of a panel where Sophie Tuner and Maisie Williams interviewed B&W and just keep making fun of them for being old (of note, Sophie Turner is really funny). Or if it's because they're quite literally getting older and making this show where they have to spend three million dollars to light 20 real people on fire in order to make it look like 1,000 fake people are being lit on fire has probably aged them an extra decade.

But mostly I think it's because now that they're out from under the shadow of GRRM they can stop pretending they're dead inside and let their TV pathos flags fly, and that alone makes them seem a lot less hard than they used to. Them talking about how Dany and Jon it's so obvious Jon and Dany have developed feelings for each in the cave scene was just adorable. Guys! They've had like, two conversations, and neither one has made a single inappropriate "bend the knee" joke which they obviously would if they were two real life 19-year olds falling in luv in a cave.

All this is to say that, I am so thankful to them for bringing GoT to my television, but truly, only two dumb dads could have taken this insane, explosive, dragon-fueled battle and called it…"The Loot Train Attack." Or as I prefer to call it: the mutha fuckin' LOOOOOT TRAAAAAAIN!!!

There is nothing that I can personally write that would make the battle where Dany brought dragons to a sword fight at the counsel of Jon any better than it already was, so I'll be brief: It is in episode 4 of season 7, at the end of the Loot Train—LOOT TRAAAAAAAIN!—battle, as Jaime charges Daenerys with a giant spear, that it became clear just how impossibly complex this web of character has become. It used to be impossible to root for anyone because they were all either evil or definitely going to die in the next episode exactly because they weren't evil. No more.

I had no idea who I would choose to live and die between Jaime and Dany. And that is perhaps unique to me because in this game of thrones, everyone can choose their own winner and we can all be simultaneously right and wrong. Just as the people of Westeros are born into certain houses, we all have our allegiances. But the time is coming for us to also make important choices, because things can only be happy reunions and convenient river dives and spare Sand Snake killings and flirty-cave-fun-times for so long. Sides will be chosen, alliances will be made, and main characters will start getting their heads chopped off again. Weiss and Bennioff might be out dads, but if TV has taught me anything—and it has taught me literally everything—it's that tough love is the most rewarding form of parenting.

And also that women always keep their bra on during sex—except for right here on H-B-O!

#game of thrones #game of thrones recap #loot train attack

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