Neverborn

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  1. Looking back at season 7, I think tyrion is the most likely candidate. He seems to get used to this role lately.
  2. Logical for D&D I guess.
  3. Well, technically sansa didn't beat LF, bran did. And I also don't see what LF achieved in the last 3 seasons that required him to be kept alive. But what ever. D&D will have their "reasons" and we will know in 2019.
  4. Invented by D&D is just my point why I think it is unlikely that D&D will kill her of in season 8. Why would they invent their own stuff to give sansa something to do through the later seasons (despite limitid episodes and more important characters they could write about), if they don't need her to play some part in the endgame?
  5. Neither would I. I just think that D&D simply wouldn't give that amount of screentime to a character that dies without a real impact to the endgame (because lets be real: sansa dying would have almost no impact to the plot of season 8). And because I don't see D&D giving screentime and character development to her simply to tell her story arc faithfully (cough stannis cough).
  6. True. But with robb that was the case from the start (show only) and not just invented later. With sansa it was basically a 180 degree turn between season 3 and season 4 in both the way she was portrayed on screen, her amount of screentime and the way D&D talk about her character in behind the scenes and interviews. She basically was just an afterthought in the early seasons and suddenly got an extended role in the later. Why should D&D turn her from a minor to a major character if she dies without any importance? And with robbs extended role in comparision to the books: I think part of that is also that they liked robb more than catelyn, so they gave robb parts of cats arc. That isn't really comparable since both died at the same event. They just shifted the main focus of the red wedding to the character that suited them more.
  7. I think the biggest hint that sansa will survive (at least in the show) is the fact that D&D actually invested some time / development in her character arc. Sure GRRM might plan to build sansa up first so her death is more shocking / impactful (also I think that would actually be quite cheap storytelling). But D&D clearly don't think / write this way. Just take a look what happens with characters / story arcs that have no significance to the endgame (dorne, fAegon, stoneheart, rickon). Just look what happened to stannis . If D&D don't need a character for their endgame he gets killed of or at the least isn't honoured with character development / screentime until he reaches the point where his death serves another characters arc (ohhh, rickons powerfull dialogs in season 6 ). Sure D&D also build up some characters to make their death more impactful (karsi, shireen), but they don't put that over the arcs of more important characters. With sansa it is actually the other way around: they push back undeniable more important characters (jon, arya) to establish sansa as a "badass" (if she actually is one is another question). Like when they needed jon to fuck up the botb to have sansa "save" him. Here some examples from season 7: Cogman stating that he intended the jon sansa conflict in e2 to illustrate how jon doesn't include sansa in his plan so she needs to argue in public. Sansa warning jon about cersei attacking the north (which seemed moronic at this point) in e1 and jon ignoring her warning (guess what happens in season 8 ). Tyrions "she is more intelligent than she lets out" in e3. Sansas "ruling skills" from e3 (veeeery subtle D&D). Both D&D and sophie turner were quite vocal about sansa now being a "big player" / politician in their interviews (classic D&D tell-don't-show-principle). It can all be summarized in D&D not being able to establish a character as important / intelligent without hurting another characters arc or dumping him down. And in regards to sansa we have multible examples of other more important characters (jon, arya, littlefinger) being dumped down / pushed aside to establish sansa as a "player of the game". Now both GRRM and D&D could simply build her up to fall deeper. But personally I think that GRRM is to talented and D&D not talented enough for that. If that is their goal than D&D might give her an emotional moment with arya before it happens (stannis & shireen style). But they wouldn't sacrifice so much screentime on a character that dies of without any impact to the endgame or the story in general. Regardless how things play out in the books (or what the outline says): we have to keep the D&D-logic in mind when we make predictions for show sansa.
  8. The bisexual bronn honeypot is gold. Wonder why I never noticed this before. Now I actually have something to look forward to in season 8. Because if D&D stay as unimaginative as before when they are writing bronn... they might as well tell an interesting (tragic) story without noticing it. Would be quite fitting if the "story arc" D&D didn't even think of would turn out to be one of the more interesting ones in season 8. In this sense: many thanks to Beardy the Wildling. By informing me about this "improved" version of bronns character arc you managed to rekindle my interest for a character I loved in the early seasons and got really bored of in the later seasons. Favourite Honeypot: I have no real favourites, because I tend to still get my hopes up whenever I hear one (also I should know better by now) and end up disappointed. So I will change favourite to most entertaining (in a silly kind of way). And no one will be able to tell me that the chains the nightking used in 7x6 were not tyrions chain that he was supposed to use in 2x9. Favourite Reverse Honeypot: A little contrast in two quotes by cersei and sansa. To quote sansa from 4x1: " I lie awake all night, staring at the canopy, thinking about how they died " (from the conversation with tyrion after the red wedding). To quote cersei from 7x3: " I lie awake and I stare at the canopy and imagine ways of killing my enemies " (from her conversation with ellaria in the dungeon). I know that it is to 90% totally accidental (since D&D tried their best to establish sansa as cerseis mini-me by showing their "similarities" (hairstyle )). But this little contrast of wording shows quite nice how sansa deals with the loss of her loved ones (robb, catelyn) by thinking about them and what she lost, in contrast to cercei who thinks about her revenge towards those who took her loved ones/children away from her. And this (accidental) contrast between sansa and cersei, is probably the closest thing we ever got to the characterisation of the real (book) sansa since season 4.
  9. There is a really great analysis/article of the Sansa-Ramsay plot and why it doesn't make any sense on r/asoiaf. https://www.reddit.com/r/asoiaf/comments/6wrad3/spoilers_extended_sansas_bolton_plotline_two/ It is basically an analysis of the inner logic, the consequences and D&D "reasons" for this plot. I can't say much about this topic that wasn't already coffered in this article. It's a bit long, but sure worth the read.
  10. Thanks for saying what I just intended to write. Seems like the showrunners now reached the point where they write a script just with the audiences reaction in mind and not with actual character arcs. D&D said in there behind the scenes video that the scene builds on the viewers thinking that the arya and sansa might kill eachother and that it was important for them to make this conflict feel like a "true rift" between them. So the viewers would be shocked in the end. The simplest explanation is often the best (especially if you analyse D&D writing). So we have to chose between three explanations why D&D created conflict between sansa and arya in e5&6: 1) They wrote it as part of a bigger plan to trick LF (dumbing-down LF to show that arya & sansa are smart) 2) They wrote it to give LF one last game before he dies (dumbing-down and destroying/ignoring character arcs of sansa & arya doing so) 3) They wrote it to shock the audience with the last episode (means no deeper thoughts / character arcs behind the conflict at all.) Judging by the isaac interview and the behind the scenes video I tend to think it was the last one. The arya-sansa conflict was written only for the audience and not for the characters. In this sense D&D somehow reached their goal because part of the audience was still surprised by this outcome. But it just contibutes nothing to the story because it wasn't written with the story in mind. It is known that D&D are bad writers, but with this I am not even sure if we can call this writing at all. Isn't the definition of writing a story to write something that contributes to the story and not something irrelevant to create a special reaction from the audience? What's your opinion: can we even call this writing? ps: the first post I ever wrote in a rant and rave topic. Seems the last two episodes have finally succeeded where two seasons of nonsense before failed.
  11. Well, the "dick at all" was what helped him winning the election against yara and theon. The "big dick" was what he wanted to offer daenerys besides the iron fleet (according to his election speech).
  12. It means that Euron "I have a big dick" Greyjoy doesn't has small hands... D&D are more political than you would imagine.
  13. Sorry, but no sorry: I dreamt of a maid at a feast with purple serpents in her hair, venom dripping from their fangs. And later I dreamt that maid again, slaying a savage giant in a castle built of snow.
  14. Well, I'm actually pretty sure that sansa will survive to the end and her skills will come to play after the long knight (to pick up the peaces). Mostly because her arc had such a minor (and often boring) role through the story I expect that she will have a bigger role in the conclusion of the story. But since we can't disprove the other we should probably just wait and see.
  15. If she does something that justifies her inclusion in the story before she dies, I could maybe buy this plot. I still don't believe it, because I think that GRRM would take the easy way out with this. But I could buy it.