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GAME OF THRONES


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17 minutes ago, leeallen01 said:

Did anyone notice that Jon spoke to Greyworm about all the murder, then went to Dany to talk to her about it, and Greyworm was already there. Did he teleport? 

 

 

 

I don't remember any of that happening in Return of the Jedi? 

Please don't tell me you prefer ROTJ. Please!

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2 minutes ago, bollemanneke said:

Please don't tell me you prefer ROTJ. Please!

 

What has that got to do with anything? 

 

But if you must know, ROTJ is vastly superior to GOT season 8.

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Maybe I’m wrong but I thought it was only the leaders of the major houses of the Iron Islands that voted in the Kingsmoot and not every single Ironborn.

 

I can’t remember because the Asha chapters were some of the worst chapters in the books 

3 minutes ago, Jay said:

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2 hours ago, Quintus said:

Close your eyes, and imagine that all of the S8 episodes preceding this final one were really great "all we'd hoped for" climatic instalments; and the aftermath opening act of this episode could easily have been the natural continuation, such was the menacing atmosphere and tone of those scenes. For a short while in this episode, Game of Thrones felt to me like the epic fantasy cataclysm I'd waited out for all these years. Then the dragon flew off into the horizon, and it was a return to business as usual immediately after.

 

There was indeed some very satisfying hard fantasy imagery in the first act, especially with the dragon. It's just a shame that its ending felt so dramatically short-changed.

 

Imagine if we actually ended a season with Dany burning King's Landing. Then you had another season dedicated to the Mad Queen's reign, and plotting her demise, then that ending with Jon and Drogon would have really hit the spot. Because on paper, that scene is actually potent stuff, it just wasn't earned.

 

Also, anyone else feel like all the Night King stuff comes off as even more redundant now?

 

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That Hardhome episode, it's still frighteningly badass as fuck. It's the high point of the whole thing for me.

 

The producers of this, they didn't know what they had.

 

Truly, the fans did though: "Winter is coming" and the insurmountable threat of The Others (how they're called in the books)... it was one of the greatest MacGuffin hooks of all time. That shit was so provocative in the mind of anyone with a decent imagination. 

 

D&D didn't understand it. They mustn't have done.

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2 minutes ago, Stefancos said:

But that lame little fucker planned it all!

 

He knew he would be King, remember! Worse than Little Finger!

 

Y2j1yqp.jpg

 

I read some amusing comment somewhere, about how Bran is the most evil character in the whole of Westeros.

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4 minutes ago, Quintus said:

 

Y2j1yqp.jpg

 

I read some amusing comment somewhere, about how Bran is the most evil character in the whole of Westeros.

 

It appears to be a popular theory!

https://www.cosmopolitan.com/entertainment/tv/a27524580/bran-is-evil-king-plot-theory/

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So why's Jon sent back to the the wall? That's like sending Owen back into Jurassic World to look after th- oh wait.

 

Also noticed that Djawadi was playing switcheroo with his Westworld score for 'sad emo strings dat make u cry'. When you think of the legacy Howard Shore left behind after his Rings scores, GoT seems like a blip on the radar. 10 years and five or six basic themes played on his laptop using midi files.

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I can't imagine Jon would've wanted to do anything other than go back beyond the wall even given the choice. He ended up where he belonged.

 

The only other appropriate fate would've been death by dragonfire after killing Dany. I wouldn't have minded that, but what we got was fine as well.

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57 minutes ago, Arpy said:

When you think of the legacy Howard Shore left behind after his Rings scores, GoT seems like a blip on the radar. 10 years and five or six basic themes played on his laptop using midi files.

 

Come on credit where credit is due.  Effective scoring that satisfied alot of fans.  That's hardly something to be scoffed at.

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The score was what it needed to be. When it was great it was great (Light of the Seven, to a lesser extent The Night King). A flashy, colourfully orchestrated score would never have worked for the tone the producers wanted, and the pressures of television scoring (endless versions and insanely fast turnarounds) require a synth-heavy approach. Djawadi did a great job with the tools he had.

 

The final statement of Daenerys' theme intertwined with the main theme as Drogon flies away is quite moving. 

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3 minutes ago, Docteur Qui said:

and the pressures of television scoring (endless versions and insanely fast turnarounds) require a synth-heavy approach. Djawadi did a great job with the tools he had.

 

Star Trek: Discovery has a large orchestral score despite theses restrictions you mention.

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28 minutes ago, Stefancos said:

Who left shortly after.

 

Once they were satisfied with his sentence. 

 

2 hours ago, Quintus said:

The Night King and the whole white walkers subplot were padding! Take them out and you've got a one-off mini series that ended in 2011.

 

The Night King was OJT for King Aegon's future chosen profession. 

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4 minutes ago, Stefancos said:

 

Star Trek: Discovery has a large orchestral score despite theses restrictions you mention.

 

Yes, and it's very much the exception in the prestige television age.

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Aesthetic decision. Seth MacFarlane is too much of a film-score/ST nerd not to have a traditional orchestral score, and as executive producer/creator he ensured it would happen. That would've included a large budget for orchestrators, engravers, the orchestra itself etc.

 

While the music for GoT is a very important aspect of the show it wouldn't have received the same priority. Not when there's CGI dragons and top-billed stars to pay for. I think Djawadi still had plenty of people on his team, and there are a lot of recorded elements, but much of the underscore is simple statements of thematic material under heavy dialogue scenes which can easily be faked with high-quality samples. Obviously the more traditionally cinematic sequences had real instruments blended in, as is the common practice with television scores these days.

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I thought the music sucked ass in this last episode.  He rarely rose to the occasion.  I won’t scoff at his accomplishments, but I’m not going to give the music more time than I think it deserves just because a lot of other people like it.  I think the world of Thrones called for great music and his wasn’t.

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17 minutes ago, Disco Stu said:

I thought the music sucked ass in this last episode.  He rarely rose to the occasion.  I won’t scoff at his accomplishments, but I’m not going to give the music more time than I think it deserves just because a lot of other people like it.  I think the world of Thrones called for great music and his wasn’t.

 

Preach it!

 

 

FB_IMG_1558402735074.jpg

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I thought the music was ok throughout the episode. Certainly not disappointing, as in s08e03 The Long Night. The music in e03 was just banal. In the finale it was just cliche.

 

 

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