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Le Cygne

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  1. HBO's "Game of Thrones" TV series will principally be remembered for two things: a disappointing ending, and a legion of fans who think they could have done it better... Catelyn Stark would come back from the dead Following her death at the Red Wedding in Season 3, it was simply assumed that one of the ensuing seasons would close on the image of the Stark matriarch opening her undead eyes; this was for good reason: it happened in the books... Ultimately, the "Game of Thrones" show omitted the entire thing. Cersei Lannister would be killed by Jaime Then there was the show-specific "green eyes" theory, which was derived from Melisandre's prophecy that Arya Stark would kill people with green, brown, and blue eyes... No such thing actually happened, of course. Cersei and Jaime were crushed to death by falling rocks, in what remains one of the series finale's most controversial choices. Jon Snow (or maybe Daenerys Targaryen) was the Prince Who Was Promised After Stannis' death, Melisandre switched her pick to the resurrected Jon Snow, though Season 7 still went out of its way to suggest that the Prince — which could also be a Princess — actually turned out to be Daenerys... Hilariously, not only is the true identity of the Prince Who Was Promised never properly revealed, the entire concept was unceremoniously dropped in Season 8. Jon Snow would kill the Night King If there was one way Jon could have proven he was the hero that the prophecy foretold, it would have been to kill the Night King, thus ending the threat of the White Walkers once and for all... It was so logical, in fact, that the showrunners decided not to write it. Snow actor Kit Harrington, for his part, told Maisie Williams that he had been informed during Season 3 that he was going to do it... So instead, it became Arya who leapt out of the darkness and took down the Night King with a Valyrian steel dagger. The choice had no narrative or thematic resonance whatsoever, and seemingly let Jon with nothing to do during the battle but scream uselessly at a dragon — but hey, at least it wasn't obvious. https://www.looper.com/602613/the-wildest-game-of-thrones-theories-that-didnt-pan-out/
  2. Well, it's the genre, and GRRM is following it pretty well (and there are lots of hints in the text that he borrows from these classic gothic romances, I put Jane Eyre borrows after the Sansa/Sandor piece). In Rebecca, the heroine is haunted by the ghost of her husband's first wife. In Jane Eyre, ditto (only she's alive!) The challenges are often psychological, it's a pretty special kind of hero's journey. If you look at the top of this page, there are all of these story elements, too: The Rival (without rivals, there is no possibility for crisis) Moral Weight (if the lovers cannot elevate themselves morally, they will not be able to find authentic love; that is, they must have a worldview shift that raises their moral fiber) Helpers, Hinderers (those who help the two come together, those who work to destroy the match) Gender Divide (distinct differences in the ways the two lovers view love must be in play) External Need (external pressures to find a mate) Forces At Play Beyond the Couple's Control (social convention) Forces At Play in the Couple's Control (one or both lovers has to get out of their own way to change their behavior and worldview) Rituals (the lovers develop little things they only do with one another) Secrets Secrets society keeps from the couple Secrets the couple keeps from society Secrets the couple keeps from one another Secrets one of the couple keeps from himself/herself So let's look at Dany. He shows her meeting the challenges of what is at first a hostile world, that over time, she makes her own. It's through Drogo's gift of the silver that she comes into her own. I think he did a really nice job with riding as the means for self-discovery: Drogo giving her the silver, bonding with him via the silver (as he points out in the quote above), the meshing of the dragon dreams with the silver showing her the way, riding Drogo, and ultimately, riding her dragon, Drogon. And all the romantic elements are there: the rival (Jorah), the gender divide (Dany showing Drogo how she likes it - "this night I would look at your face"), the helpers (Irri, Jhiqui, Doreah), the hinderers (Viserys), forces at play both beyond and in the couple's control (the Dothraki lifestyle where there are things that are positive and things that are negative, and together, they find a way forward together), and so on. I think he's woven all of this together nicely. Like Tina Turner sang, he doesn't like stories that are nice and easy, he likes stories that are nice and rough. So it's easy to see why this sort of story appeals to him.
  3. Along the same lines of the gothic romance discussion above... GRRM follows the gothic tradition in his romances, too. An easy one to see is the story of Sansa and the Hound, which closely follows Beauty and the Beast. Other romances are told in similar ways. For Sansa, the setting is a traditional castle. For Dany, the setting is the wild grassland of the Dothraki. In both cases, the women must learn to find their way in strange and often hostile new places. They are helped by dangerous men (as one character put it, "scars make a man look dangerous, and danger is exciting"). Their interactions with these men tap into the fear and excitement of sexual awakening. Sansa enjoys a "song" she wrote for herself, about a kiss she shared with Sandor. Dany rides Drogo like she rides her silver, and later, her dragon. The women draw on these experiences as they face new obstacles. Here, GRRM spells out the connection between fear and excitement: Dany remembers her first night with Drogo: She remembered the night of her first wedding, when Khal Drogo had claimed her maidenhead beneath the stranger stars. She remembered how frightened she had been, and how excited. GRRM describes the scene the same way: There are a couple of stories. As a wedding gift, Khal Drogo gives Daenerys a silver horse and she rides away. For a moment you think she’s fleeing. Then she turns the horse around and leaps the horse over a big campfire. Drogo is very impressed, and it starts the relationship on a good note... So they had to scrap that sequence, which was unfortunate, as it was a bonding moment between Dany and Khal Drogo. Then came the filming of the wedding night. In the Emilia Clarke version, it’s rape. It’s not rape in my book, and it’s not rape in the scene as we filmed it with Tamzin Merchant. It’s a seduction. Dany and Drogo don’t have the same language. Dany is a little scared but also a little excited, and Drogo is being more considerate. The only words he knows are “yes” or “no.” Originally it was a fairly faithful version.
  4. Even if someone wanted to make up a story to fill in the tank sized holes in the plots in the show (which was pretty difficult seeing as not only was there a ton of out of character nonsense, no sentient being would do the things they had them do), they couldn't keep up, because the very next scene or episode, the show would pretend it never happened. The explanation is, there is no explanation.
  5. Well, Jon told the secret Ned died keeping to protect him to the person who had sent him out to die in her own personal power play, then she promptly broke a sacred promise like breaking a nail by telling someone who talked him into kinslaying after telling him he wanted his girlfriend but she didn't want him... So he was pretty damn stupid, too. They took away his story, but also his brain. No brains, no morality, no nothing. In the pivotal battle, he screamed at a dragon (oh wait, it wasn't pivotal, it was a wet fart). I can't imagine any sensitive actor would truly enjoy portraying a pod person, no matter what they are paid to say. They were all pod people, thanks to Benioff and Weiss.
  6. The "sad it was ending" talking point they were given added insult to injury. They were treated so badly, then told to say they didn't want it to end. Kit Harington said that playing Jon Snow on the HBO series "Game of Thrones" broke him down in real life. The actor talked about the impact of working on the intense and often violent HBO series during an interview on SiriusXM's "The Jess Cagle Show." US Magazine reported that Harington went to a rehab facility in 2019 for stress and alcohol abuse. “The last season of Thrones seemed to be designed to break us. Everyone was broken at the end,” he told GQ Australia in January 2019. “I don’t know if we were crying because we were sad it was ending or if we were crying because it was so f—king tiring. We were sleep deprived.” https://crooksandliars.com/2021/08/kit-harrington-game-thrones-directly
  7. It was all needless, and for nothing. We heard stories like this all along. And instead of accountability, the old boys network rewarded those in charge. Game Of Thrones’ Lena Headey and Hannah Waddingham have joined forces to discuss the ‘horrific’ 10-hour day spent filming a torture scene. The duo are scene partners in a number of Game Of Thrones’ most iconic sequences, but most recently have opened up on one particular scene where Septa Unella (Waddingham) is waterboarded by a vengeful Cersei Lannister (played by Headey). Describing the scene as ‘traumatic’, Waddingham has since spoken out about how she was strapped to a table for 10 hours as wine was repeatedly poured onto her face by Headey. Reliving the moment alongside Headey in a new interview with Entertainment Weekly, Waddingham said: “People are always quite shocked that that actually did happen in reality and there was nothing CGI’d. "One thing I’ve said a lot is that both of us were quite uncomfortable about it, but as with all these things, you know that they’re not actually going to kill you so you just get on with it and do it.”... In a previous interview, Waddingham admitted she was so traumatised by the experience she had to speak to a counsellor about suffering claustrophobia. She was also left with a fear of water as a result of the torture scene. https://www.yahoo.com/entertainment/game-of-thrones-waterboarding-torture-141315814.html
  8. They basically took every character and erased the best things about them, and did a 180 on their arcs. And that's what they did to Jon Snow. In the books, Jon is someone who is trying so hard to be noble, and do his duty... and then he hears his beloved Arya is in trouble and he just has to save her. GRRM shows him thinking of her constantly, and then the worst happens. Arya is in big trouble. He's so worried, and he's just got to do something. Leading up to this is the drum beat of his remembrances of Arya. He remembers he told her stick 'em with the pointy end, then those are his dying thoughts. Jon Snow is motivated by love. They replaced a story about love with the glorification of Ramsay Bolton, and turned Jon into a bystander... until the end. It took quite some doing to take a many-layered and well-loved character, and turn him into a mere plot device for Tyrion at the last minute. Then he was a bystander again.
  9. That was good, showed how they dismantled the story and the characters long before the ending, which was just a rush to finish what could never be fixed. It's remarkable how destructive they were, at every turn. It's like they were drawn to this material for the darkness only, as they removed all meaning from it.
  10. "That made it a little strange because now the show was ahead of me, and the show was going in somewhat different directions. So I'm still working on the book, so you'll see my ending when that comes out." (added full interview link)
  11. Ha ha ha ha ha ha ha ha ha ha.... {Breathe...} Ha ha ha ha ha ha ha ha ha ha ha... So now I am laughing at "it makes sense even though you don't want it to"! That's because NCW said it makes no sense for years. Surely he should be done with her, he'd say. His interviews were always fun, because he made no secret of the fact that it was nonsense.
  12. Might as well go with something good, while she's at it. No, Dany wasn't really dead, Drogon flew her to Daario in Essos, where the best maesters nursed her back to health in the house with the red door. That's where all the real characters went to live, after the pod people took over their bodies on the show. The show was just a really bad movie and will be laughed at on Mystery Science Theater 3000.
  13. An article I hadn't seen before, mocking the empty words "the pack survives" spoken by the two sisters who almost killed each other. That's this show in a nutshell, even when they bother to say something, it doesn't mean anything. Then one sister betrayed her brother, breaking a weirwood tree promise like breaking a nail, and the other sister blew off the same brother, as he was sobbing and asking her to please come visit him. They abandoned the other brother, too. GO PACK! I'd say poor Jon, to have such faithless sisters, except he just murdered his aunt, so the pack didn't survive in that case, either. (Also, pack is not about physical proximity, but spiritual closeness. The show could have given meaning to the line even if they ended up scattered across the globe, but they did not. The show repeatedly mocked Ned, and everything he stood for.) Revisiting the “happy ending” for the Starks: Sansa and Arya stood atop a castle wall in Winterfell this season as Sansa echoed the words of their father: “When the snows fall and the white winds blow, the lone wolf dies, but the pack survives.” Apparently, the pack was only needed to survive until the finale, where Arya decided she was better off playing the lead in a Pirates of the Caribbean remake. Thumbs up for female empowerment, but could we stick to a family ethos for… a month? That doesn’t seem like a huge request. Bran Stark, the true-born male heir of Winterfell, became the king of Westeros after being selected by a panel that included Sansa Stark. For some reason, the people of the North, who have followed the Stark family through thick and thin for hundreds of years through triumph and tragedy alike, decided they would follow another Stark who seceded from the kingdom instead. They’re an independent group of people, but really?... Without going too far down this wormhole, I’ll say this: "Thrones" spent much of the last two seasons invalidating the core of what got them here. A few carefully-collected quotes and callbacks do not change this. https://www.phillyvoice.com/game-thrones-finale-sucked-and-heres-why-hbo-got-finale/
  14. One could just watch a good show to see a good character. Media is a business, and show business has always been about throwing money around to sway people. They aren't going to pay money for people to write about things that won't make them money. When they finally got a chance to tell the truth, since by then the whole world knew, the vast majority said the show was terrible. No one wants to rewatch this. And especially not for one character. They screwed over Arya, too. Let's look at her arc: Season 1 - scrappy! Season 2 - scrappy! Season 3 - scrappy! Season 4 - scrappy psycho! Season 5 - psycho! Season 6 - psycho! Season 7 - psycho! Season 8 - Ninja Turtle then Dora the Explorer
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