"A knight of the seven kingdoms" is the type of episode that first made me fall in love with Thronespel . It contains lots of clunky scenes, and it's remarkable how little we know about how Jon and Dany alliance plans to fight Night King. But the essence of the episode is a lot of beloved characters who spend a last, long night together, before the white hikers arrive to possibly make them iszombies. The whole thing takes place in and around Winterfell, over what amounts to a 12-hour period, and you can almost feel the writer Bryan Cogman and director David Nutter exciting for the prospect of just having to serve this specific time window "A Knight of the seven kingdoms "reminded me that what got viewers of Throne's game was not an act or an actor. fighting. It wasn't even the crazy twists or the political plot. It was how the show's collection of characters felt just like real people who live through massive, life-changing events. "A knight of the seven kingdoms" was a marked improvement during the eight-premiere season and the type of episode that thrones needed to fall into the imminent chaos of war with Night King. So the whole episode was a winner! But let's break out some other winners and losers from the episode itself. Winner: Death If there is a central theme of "The Knight of the Seven Kingdoms", it is that death comes for all of us, but also more specifically for…
“A knight of the seven kingdoms” is the type of episode that first made me fall in love with Thronespel .
It contains lots of clunky scenes, and it’s remarkable how little we know about how Jon and Dany alliance plans to fight Night King. But the essence of the episode is a lot of beloved characters who spend a last, long night together, before the white hikers arrive to possibly make them iszombies.
The whole thing takes place in and around Winterfell, over what amounts to a 12-hour period, and you can almost feel the writer Bryan Cogman and director David Nutter exciting for the prospect of just having to serve this specific time window
“A Knight of the seven kingdoms “reminded me that what got viewers of Throne’s game was not an act or an actor. fighting. It wasn’t even the crazy twists or the political plot. It was how the show’s collection of characters felt just like real people who live through massive, life-changing events. “A knight of the seven kingdoms” was a marked improvement during the eight-premiere season and the type of episode that thrones needed to fall into the imminent chaos of war with Night King.
So the whole episode was a winner! But let’s break out some other winners and losers from the episode itself.
If there is a central theme of “The Knight of the Seven Kingdoms”, it is that death comes for all of us, but also more specifically for the hard band of warriors gathered in Winterfell.
The white hikers have always been a little weak in terms of metaphor. They can stand for climate change or evil or whatever you want, but they are not really characters as much as an overwhelming force. I’ve always assumed that George RR Martin will ultimately find a way to undermine White Walker’s occasional-fit-general-evil nature in his books, but the show sees how little time is left (just four more episodes after this one!), everybody that the white hikers are facing the actual death.
It works so much better than I would ever have expected it. From Sam musing in the way the white hikers want to wipe humanity from the map, comparing how death causes us to forget (and cause us to be forgotten) to the constant resignation of “we will all die here!” From just about everyone, “A knight in the seven kingdoms” zeroes on who these characters are, who they were and where they are going, when the world seems to end.
My favorite picture in this regard felt like what happens at a wedding reception when guests start peeling off the main party and hanging out at the hotel pool with a few drinks. Without this, the characters cut away from the long night and wait for Night King to arrive at a crackling fire. (They still had a couple of drinks.)
It’s a scene that sometimes leads up the death spectrum directly (usually when Tyrion doesn’t seem to let go of this little group of people will die fighting to save Winterfell when they all hit Starks at one time or another, but it is basically an indirect reflection on this idea.When you know your hours are probably limited, what should you do with the last few hours, who are you going to spend them with? Well …
“Knight” in the title of the episode turns out to be Brienne, who never been ridden in his time on the series, because it is not something women can do in the seven kingdom, she plays it as if she did not care much, but the more Tormund continues about how he would ride her 10 times if he could, the more you can see in Gwendoline C shrieking eyes how much it gets to Brienne that she probably should be a knight, dangit.
And so says Jaime, oh, hey, cool force I have – I can only knight someone I want and he continues to do just that, by launching Brienne in the order of the seven kingdoms. And if she somehow survives with any of these other people next to her, is anyone really to remove her from the title? (Okay, yes, “stripping Brienne of her title” is definitely in Cersei’s steering wheel.)
Brienne Knights – and her cunning, smiling reaction to it – is the episode’s highest point and that’s one thing that can only happen on a TV show near the end. We have lived together with both Brienne and Jaime, together and separately, so long that this moment has really deep in it.
And although I question the idea that everyone else in the room would be so ready to applaud for her, I allow it because of all the signs that are facing the audience.
But that’s not all! Brienne is also quite high up the command chain in the upcoming battle, she seems to be the only person who envisioned military strategy throughout the show, and Jaime says he will be happy to serve under her. Brienne is one of Thrones games “some characters whose moral muddle is mostly unclear by a dark act or another, so it’s nice to see what is recognized by someone . ] Winner: Jaime
For someone who started this episode on trial for his life, Jaime had quite a good time on things all the time (which guarantees he will die next week, huh?).
He saw Brienne Again for the first time this year, he denied more or less with Tyrion, and he convinced Dany not to kill him, and he has also knocked things out with Bran, which he pushed out a window and paralyzed long ago. (The clamp from Game of Thrones “Pilot of Jaime who pressed Bran into the tower window up in the” Previous on “segment could only have been my favorite thing about this section.)
Is everything coming up Jaime? Not yet. But for a character who sometimes felt a little stranded in recent seasons, caught in a poisonous, coherent relationship with his sister that Thrones game struggled to find new aspects of it is nice to have at least one section where the character is back to its best.
YEAH, BABY, IT IS A LOVE MATCH COMING TO CITY !!!!!!!! JAIME AND BRIENNE 4EVA !!!!!
(Do you also remember how Jaime said he wanted to die in the arms of the woman he loved in season five? It seems pretty obvious where this is going.)  Losers: Tormund / Brienne shippers
Look, I love Tormund, especially when he boasts that a giant raised him as her sweetheart for three months (!), but he can’t ride just who he wants, which really puts him a few steps behind Jaime. (Tormund seems to probably survive the next episode, so remember that this is a marathon happen. HBO
Apparently, many people have sent Arya and Gendry all the time, hoping that the two would come across each other again and connect. And this is the only potential love affair that Thrones Game decides to pay in this episode, because Arya loses his virginity to Robert Baratheon’s bastard son (game how he still bombs, right?)
Arya and Gendry have never been my mating choice on the show – it looks as if Arya should belong as a personification of death or something – and Nutter’s choice seemed to everyone but intended to send interested and / or titled viewers racing to Google to see how old Maisie Williams is. Well, I can play that game: “Arya Game of Thrones, how old?” Actress Maisie Williams was born April 15, 1997 and just became 22.)
But hi good for these two crazy kids. And now, if they both survive the upcoming battle, the postwar could be really awkward for them, which can be fun.
Cogman’s script for this episode is lyrical and melancholy, which is exactly the right balance for a story of a bunch of people confronting their deaths. But at the same time, this launched the stage early when Dany and Sansa sit down to talk about their complicated family situations, then spend most of the conversation that summarizes Thrones game to another.
Do I understand this? In the pure sense of “here’s what the scene was trying to accomplish”, sure. Sansa and Dany have just met, and trying to find common ground is a smart way for Dany to win over a very skeptical ally. And Emilia Clarke and Sophie Turner have a brittle chemistry that feels like it can lead somewhere interesting.
But in driving, the scene was a death for which event the episode had built to that point. It felt briefly that it would suggest that Sansa and Dany had buried hatchet, totally unlikely, before Sansa asked Dany what to do about Northern, who has promised independence when the war is over. (Dany carefully removed his hand from the top of Sansa.) It was a good payout, but probably not worth such a long exposure to get there.
Moreover, the rest of the episode for these two characters was not much better. Dany found out that Jon could have a more legitimate claim to the throne than she did, and she had to deal with the whole “Tyrion and Jorah both want to be the Hand, and they are both in love with me, but that’s all in the subtitle, so I can not know the “thing.
And then Sansa seems as if she is set up for some kind of romantic thing with Theon who wat ???? I’m not really thinking The Thrones game will go there, but the short shot where the two are staring at each other every moment is very worried.
I very much complain about the lighting on Thronespel . It is a popular pastime among those of us watching TV professionally, as well as many who do not. The exhibition is so often so dim that viewers cannot find out what is happening.
But you know what? David Nutter and film photographer David Franco did a great job of giving this episode a horrible and wintery feeling without burying it in shadows.
Chiaroscuro lighting – which dramatically illuminates the contrast between darkness and light – has become all the rage on television these days because it is a simple way of conveying the sense of prestige without really having to work to tell a good story. this trend seen on the show Ozark ).
And so buried scenes show in the dark and shadow, instead of trying to highlight the difference between dark and light, just as the legendary film photographer Gordon Willis did in the Godfather films.
The popularity of this lighting technology in recent years is probably directly attributable to Thronespel where the notion “we exist before electric light construction gives at least one defense for an aesthetic that so many others show on their appearance cannot hope to justify But even Throne’s games have sometimes felt as if the characters are swallowed up in the dark.
Imagine my surprise then that “A knight of the seven kingdoms” was full of scenes where the contrast between light and dark Not only was it handled well, but often very subtle, and most of these scenes also contained realistic reasons why the lighting was as it was, as when the roaring fire gathered all the characters around in the episode’s best scene, most of the light was shed.
Thrones games sometimes appear dark to be dark, but “A knight of the seven kingdoms” was an example of the rest a v tv could do worse to see as an example. There seemed to say there is how to do it. And yes, if Game of Thrones wins a filmography Emmy for this episode, yes … it would be fine with it.
Look: I didn’t really want to see a section where the characters broke down their battle plans for the upcoming war, for it sounds boring. (A prominent dissenter: Vox’s own Matt Yglesias who seemed disturbed on Twitter, so that the episode was no more strategic. I don’t know I even needed a full scene of it.
] But it would have been nice to see some evidence that these people have a plan for what to do next to Brienne’s vague gestures against a rise that can give the living forces a tactical advantage, and Kli, who suggests he would be really good bait for Night King. (Mad Max says “It’s bait” dot gif.)
(By the way, if Games of Thrones drag the old “you just have to defeat the leader to defeat the horde “Too many other sci-fi, fantasy and horror stories by the death of the night king that all white hikers killed, I’ll scream!”
This is perhaps best summarized by a scene where Davos serves soup to a bunch of soldiers. Remember how the season’s premiere had e a fleeting moment where Sansa asked how the army would be fed? Have you ever imagined the answer would be, “Davos will serve them soup”? This is just another example of how Throne’s games have largely given up in order to create a politically sustainable alternative reality to go for simplest explanations.
It didn’t even look like a good soup! (Okay, it’s almost certainly the point.)
But I have to push back against the idea that “A knight of the seven kingdoms” would have been improved by scenes with lots of military strategy. Look at how the show spent most of the section that clarified what characters will be there when the battle comes.
This is the standard “first act of a war movie”, but it is standard because it works. We want to know that Jaime will be with Brienne, and Jorah will have Sam’s Valyrian sword, and Gilly will be down in the crypt. The show does not really prepare us for this physical reality, but it is preparing us for its feelings so that we know who we need to worry about when and let us feel echoes of long-lasting events that Jorah is moved out of the seven kingdoms and his own family. (He has a very cute scene in this section of Little Lyanna Mormont, who is now the ruler of his house.)
This is consistent with Game of Thrones modus operandi. By and large, its military tactics are weak and almost make no sense if you think of them for five seconds. But it is so good to emphasize the emotional efforts in their battles that we think we nod together anyway. It is not exactly what you understand why either side won or lost, but it distinguishes that you know who does what and when.
There is a montage late in episode, set to Podrick’s performance by a glorious, lonely song, and it flashes over several shots of characters waiting essentially to die. In some places it is almost a direct lift of a similar moment in the movie Titanic and it is another movie where you get the most explanation as to why the ship is sinking, so you can easily go and watch when the characters dashing around the boat, barely avoiding death in heart cleansing fashion.
Bet you didn’t think we would compare Thrones game to Titanic this season, huh?
Virtually repeats “A knight of the seven kingdoms” the points and character designations of “Winterfell”, sometimes notes for note.
Someone else discovers that Jon is really Aegon Targary, but this time it is Daenerys who reads the news from Jon. Signs unite again. The systems hatch. Theon just spins up in places, and it’s always really weird.
And because “A knight of the seven kingdoms” is such a good episode, “Winterfell” feels a bit more disappointing compared to – and I was already beautifully disappointed with it! “Knight” has the soulful “Winterfell” failed to achieve thanks to the compressed “basically a long afternoon and night” timeframe and how it is forcing characters together to talk about their feelings. And then it ends with a fantastic promise of an outbreak war next week.
It would be one thing if “Winterfell” had been disappointing but dramatically different from “A knight in the seven kingdoms”. TV shows need table setting episodes, after all, show mostly so many pieces as placing on the table as Thronespel . But I am not sure that this last season needed two table setting episodes in a row, with such strikingly similar plot points. And once it produced them, it probably wasn’t helped by having one of the episodes so much better than the other.
“Winterfell” briefly made me worry that the Thrones game could cure the last episode. “A knight in the seven kingdom” has now raised my hopes so that I will probably be disappointed. But I wish that the first two hours did not feel like two reassessments of the same basic idea, one that animates so many last stands in fantasy literature: Here we are all, once again, at the end of things.
She is not even in “A knight in the seven kingdoms”, but I said last week that she will always be a winner and I always keep my word.
Even everyone just realizes that they will not have a good plan to defeat Cersei’s army if they in any way survive the battle with Night King and Cerseis apparently hypnotic force to briefly make Tyrion believe she had changed his way almost led to his dismissal from Dany’s service.
Even when she is not in the episode, she is my favorite character! Hooray for Cersei! [The crowd cheers.]