- GAME OF THRONES BEYOND THE WALL AIR DATE PLUS
- GAME OF THRONES BEYOND THE WALL AIR DATE SERIES
- GAME OF THRONES BEYOND THE WALL AIR DATE TV
* While trying to board Drogon, Jon is instead dragged into the freezing water, unarmed, by a bunch of wights - who, let me remind you, are zombies who do not need to breathe, on top of being hard to kill unless you have fire (which isn’t easy to come by underwater) handy - and later emerges without any explanation of how he was able to fight them off in that circumstance. For the most part, I appreciate that recent seasons have dispensed with the epic travel times that could make the earlier years a slog, but this is so far the other way, they might as well have established that Westeros has transporter beams for emergencies such as this. * Gendry - whose bonafides as an Olympic-level track star hadn’t previously been established (good rower, though) - is able to sprint all the way back to Eastwatch to send a raven all the way to Dragonstone, which in turn gets Dany and all three dragons to fly back up to where our heroes have been trapped, all in the space of what appears to be several hours. Later, when the crew are flying to safety with Dany atop Drogon, Jorah nearly falls to his death before the Hound catches him. Tormund at one point seems on the verge of death when he’s surrounded by wights, until the Hound wades in to rescue him - something no one bothers to do when a redshirt is in a similar predicament.
GAME OF THRONES BEYOND THE WALL AIR DATE PLUS
* On a mission featuring seven characters we know, plus a bunch of redshirt wildlings, the only ones to die are the redshirts and arguably the least memorable member of the core group, Thoros of Myr.
GAME OF THRONES BEYOND THE WALL AIR DATE SERIES
On the other, it squanders a lot of the goodwill generated by director Alan Taylor (in his triumphant return to the series for the first time since the season two finale), the crew, and the VFX team, by consistently undermining the huge stakes of this suicide run with the way it keeps on rescuing various characters, and Jon Snow in particular. It is frequently thrilling, at times terrifying, and a fine piece of male bonding worthy of the trope of seven mismatched heroes teaming up for an impossible mission.
Which brings us to “Beyond the Wall.” On the one hand, it’s the most technically impressive bit of sustained spectacle the series has ever given us. But that’s the weird thing the show has continually done to me this season, where it keeps giving us situations that have much less meaning if no one of consequence dies, and fake cliffhangers where it sure seems like someone of consequence is about to do exactly that, only they don’t.
Which is fine, by the way! Thrones, The Walking Dead, and the many shows that have copied from one or the other, have utterly devalued death as a major storytelling currency, and I don’t particularly like being put in a position to root for the deaths of characters I enjoy watching. It’s one of the reasons nobody believed Jon Snow was going to stay dead when he got stabbed at the end of season five: he was too important to where the story was clearly going. You’d arguably have to go back to Joffrey or maybe Tywin in season four to find deaths of characters whose narrative position seemed too secure for them to go when they did. No show has the money or logistical support to give us dragons battling ice zombies - and then turning into zombie dragons themselves - but any show can kill off beloved figures to keep viewers on their toes.īut the Anyone Can Die of it all has long since fallen by the wayside, as GoT has taken to knocking off secondary bosses (Ramsay), colorful cannon fodder (everyone Cersei blew up at the Sept of Baelor) and beloved bit players (Hodor), all while keeping the core players alive and (relatively) well.
GAME OF THRONES BEYOND THE WALL AIR DATE TV
Many, many, many TV shows had killed off significant characters before, but to bump off the closest thing your show has to both a lead and an unequivocal hero, this early? It was unheard of (other than to people who had already read the books), and created an Anyone Can Die ethos that’s perhaps the single most influential thing GoT ever did.
The moment that turned Game of Thrones from success into phenomenon was the execution of Ned Stark. Well, maybe not “all” of you die, Jon Snow. The first enemy, and the last.” –Beric Dondarrion
A review of tonight’s Game of Thrones coming up just as soon as I’m bit by a dead bear…
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