Moderator: FU!UK Committee
Winnie wrote:“Book Quaithe” predicted three betrayals, the final one being for love. So, good call.
I’ve been saying for a few weeks that D&D threw logic and continuity under the bus for the sake of spectacle. They tried to bring story back in the last episode.
Too many people had been expecting a fairy tale ending. They saw Dany as a symbol of ... insert favorite hobby horse here.
But that was never the story Martin was telling. If his story was indeed the end of feudalism, it must have taken at least 20 minutes to bring that in. >SARCASM< Having Edmure Tully (Oh, sit down, Uncle) put himself forward as King was priceless.
Cynical old fart that I am, I was completely expecting Arya to ride in on a pale horse and be Death. Sometimes a cigar is just a cigar. The story fooled me there, as it has time and again. Gotcha.
No. I will not be signing any petition to re-do the final season. I was shown the story they wanted to tell me, and not the one I wanted to see. I can’t demand that Richard III live long and prosper, just because he has the best lines.
Game of Thrones, in its eighth and final season, is as big as television gets these days. More than 17 million people watched the season’s opening. Judging by the fan and critic reaction though, it seems that a substantial portion of those millions are loathing the season. Indeed, most of the reviews and fan discussions seem to be pondering where the acclaimed series went wrong, with many theories on exactly why it went downhill.
The show did indeed take a turn for the worse, but the reasons for that downturn go way deeper than the usual suspects that have been identified (new and inferior writers, shortened season, too many plot holes). It’s not that these are incorrect, but they’re just superficial shifts. In fact, the souring of Game of Thrones exposes a fundamental shortcoming of our storytelling culture in general: we don’t really know how to tell sociological stories.
At its best, GOT was a beast as rare as a friendly dragon in King’s Landing: it was sociological and institutional storytelling in a medium dominated by the psychological and the individual. This structural storytelling era of the show lasted through the seasons when it was based on the novels by George R. R. Martin, who seemed to specialize in having characters evolve in response to the broader institutional settings, incentives and norms that surround them.
After the show ran ahead of the novels, however, it was taken over by powerful Hollywood showrunners David Benioff and D. B. Weiss. Some fans and critics have been assuming that the duo changed the narrative to fit Hollywood tropes or to speed things up, but that’s unlikely. In fact, they probably stuck to the narrative points that were given to them, if only in outline form, by the original author. What they did is something different, but in many ways more fundamental: Benioff and Weiss steer the narrative lane away from the sociological and shifted to the psychological. That’s the main, and often only, way Hollywood and most television writers tell stories.
Voice From Limbo wrote:Those happen in the best productions -- there's a big one in Casablanca.
How about "GoT -- the Epilogue": all the writers and showrunners gather to raise a celebratory pint.
And are fried by Drogon.
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