Oh boy I'm loving this series.
This episode actually made me audibly gasp with THAT scene. I'm heartbroken for how Leanor said his vows with that broken voice, he didn't deserve any of it.
Although I loved the episode, I think it's very strange that:
1. Two blokes threw Leanor, the betrothed and guest of honor, across a table and no one seemed to care (imagine someone doing that to fucking Margaery Tyrell as Joffrey began to choke)
2. The guards did nothing to protect Rhaenyra (supposably there is at least 6 guys, not counting Cole)
3. Cole murdered a guest of honor and just walked away from it, not a single guard tried to imprison him (imagine if in the Purple Wedding Merryn Trant started beating Loras Tyrell out of the blue)
This singular episode, which I initially didn’t think I would like in the beginning, became more incredible than entire movies. It was beautiful, poetic and entirely self encapsulated in a tiny little world where people can still pick out their little slice of happiness.
To all those who hated the episode, replace bill with a female in your head if you have to, but open your eyes to why this story was so fulfilling and poetic in a world filled with meaningless death and endless suffering.
Star Trek Discovery Season 3 Recap
1% - Enjoying the story
14% - Really throwing the crew diversity in our faces to the point of wrecking the story.
18% - Watching Tilly battle her lack of self-esteem.
22% - Michael decides to whisper for no apparent reason.
45% - Watching wild mood swings that border on clinical personality disorders.
What a bad ending to this once great show... This season made no sense at all.
Netflix loves to cancel its shows without warning, and it especially loves canceling them after 3 seasons, so I'm about 60% sure this is goodbye. But then again, Sex Education has been a huge hit for them, so I guess we might get a renewal.
If this is the series finale, it's pretty good. Unlike last season, there aren't any major loose ends left. The only storyline that hasn't been resolved is the paternity of baby Joy. Judging by Jean's reaction, it's not good news for Jakob.
As much as I disliked Hope all season, I enjoyed her conversation with Otis. It made her feel a bit more human, even if she is still deeply terrible.
The Groffs had a great storyline. I loved seeing Adam and Michael grow in their own ways. If we do get another season, I hope they explore their relationship a bit more. It's sad that things didn't work out for Adam and Eric, but maybe it's for the best. Eric clearly has some things to work through before he's ready to commit to one person. And seeing Adam discover his talent and passion was lovely. He didn't win, but he still achieved something really impressive all on his own.
I'm glad Aimee knocked some sense into Maeve. Their friendship is genuinely one of the best parts of the show. We didn't get a lot of Otis and Maeve in this episode, but if this is the end of the road, Maeve got a very fitting and satisfying ending. She finally has a family and she's off to do her thing in America. She deserves the world and finally she's getting it. And things with her and Otis are left open ended and hopeful. Even though they can't know if they'll still be right for each other when she returns, they're both willing to give it a shot. That's good enough for me.
I do hope this show comes back. I really do. There's something so quirky and unique about it, the storylines are great and the cast is excellent. It's truly a gem. But I'm keeping my expectations low just in case. Netflix has disappointed me many times before.
The last 10 minutes of this episode is probably one of the most powerful endings I've ever seen! Gave me goosebumps!
Time travel to a contemporary setting is one of the oldest tricks in the Star Trek playbook and I’ll be damned if it doesn’t still work like a charm. Very fun to get to see the newest Kirk portrayer really get to play with the character, and possibly the best character performance we’ve had from Christina Chong as La’an.
The final scene of the episode was definitely repugnant. Another rape? REALLY? [...]
Sam "We don't need to talk, I throw my name in the bucket of "the best episodes of the year" without writing dialogues" Esmail
This has a great premise and the possibility of being a great show, but if the Brits were doing it they'd make it spectacular and in 8 episodes or less. This is a typical American "how-can-we-drag-a-short-story-into-5-season-before-killing-it-unexpectedly” show waiting to happen. I want to love it, but it just drags on and on. 6/10
Update - someone put a bullet in the back of it's head... about 4 episodes too late. Painfull to watch the further along it went.
Great, now I want 6 seasons and a movie dedicated solely to the girls hanging out together. The final scene brought a tear to my eye.
I can't even begin to put into words here but the prosthetic and makeup division is not only good, it is groundbreaking. The bodies on the later stages of radiation poisoning were absolutely terrifying, it literally gave me chills in the spine, when it shows the firefighter and the wife inside the plastic.
What an absolute perfect ending, and I say this while admitting this ending didn't go the way I expected it to. Like honestly, how many of us actually thought Picard was going to survive this episode? I didn't, but I'm damn sure glad he did, even if we never see any of these TNG characters ever again, which I honestly doubt we won't given the ending. This was an emotional final send off however for this crew that honored and respected each of them throughout the season, every single one of them got their grand moment to shine, Riker with his asteroid, Geordi with his ship, Worf with his rescue, Crusher with her contraction discovery, Data defeated Lore, Troi rescued them in the end with her love for Riker, and Picard saved his son. And how about that borg queen, holy absolute hell was she horrifying looking or what? Anyway, what a beautiful ending that they all deserved, and one last poker game for the sake of it all. Am I excited about the future with Q showing up to tease the next series with the Enterprise G? Sure, but not as happy as I am that the old timers I grew up with got their swan song and somehow, someway, all survived. And if you didn't burst into tears when Riker and Worf decided to stay back to find Picard, basically sealing their death, then damn it I don't know what will satisfy you in life. Was this show perfect? Fuck no. Was the 3rd season without flaws? Bahaha, no! But if you can't appreciate what this really was meant to be here, I don't judge you, I just feel sad you couldn't feel the raw enjoyment the rest of us felt, because this was fucking awesome.
[9.1/10] If you graphed Walter White’s transition from mild-mannered science teacher to Heisenberg, there would be a few peaks and valleys, but it would pretty much be a straight, diagonal line. There were always these inciting events, these decision points, that pushed him further and further into becoming the man he eventually became. But the line between Jimmy McGill and Saul Goodman isn’t that neat. It’s more like a series of deepening parabolic arcs, where time and again, he reaches the brink of giving in, of becoming the shyster running cheesy ads on daytime television and linking up with criminals, and then he pulls back.
Because Jimmy has been fortunate enough to have wake up calls, to have people who pull him toward the light. Whether it’s Marco’s death or Chuck’s episode or Kim’s crash, there are moments that tell Jimmy he’s gone too far, that he needs to feed his better nature rather than settle into his Machiavellian talents. Those have been enough to keep him in the realm of the (at least mildly) righteous. Each time, some setback emerges that prompts him to gradually drift back to his flim-flamming ways, but time and again, he has the presence of mind to recognize that he’s in a bad place and hold back.
That’s one of the nice things about “Lantern,” the finale of Better Call Saul’s third season. It doesn’t overplay its hand on these sorts of moments. Kim doesn’t have some big monologue about how she’s been pushing herself too hard and it’s all Jimmy’s doing. Instead, she responds to Jimmy’s apology by declaring that she’s an adult and chose to get into the car. She comes close to jumping back into the breakneck schedule that brought her to that point and chooses to rent ten movies and actually relax and convalesce instead.
By the same token, Jimmy doesn’t have any long, drawn out confession or apologia. The look on his face, the held hand between him and Kim, the way he dotes on his friend and partner, says it all. “Lantern” plays the remorse, the realization, in Jimmy’s actions, not in the words he uses so often to bend and blister the truth. After fighting so hard to keep the office going, Jimmy immediately has a change of heart and says it doesn’t matter, setting that dream aside after seeing what it did to the woman he loved.
There’s a good deal of repentance to Jimmy here. He tries to make amends with Irene, to set things right with her and her friends, and continually comes up short. Until he reaches a strange epiphany. He admits to Kim that he’s only good at tearing things down, not at building them up, but then realizes that he can fix things by turning that quality against himself. So he uses that Jimmy McGill cleverness, this time setting up a ruse (that takes us back to chair yoga) and hot mic so he can stage a confession with Erin, the young Davis & Main associate we met back in Season 2. Jimmy applies that same manipulative quality to his own detriment, and it proves to be a clever solution to his attempts to correct his mistakes.
It’s not like Jimmy to be self-sacrificing, to make a move that will not only make him look bad, but effectively screw up the elder law niche he’d carved for himself in Albuquerque. That has the benefit of foreshadowing how Jimmy will need to find a new racket whenever his license is reinstated, but more importantly, it shows the lengths Jimmy is willing to go to, the surprisingly selfless moves he’s willing to make, for Kim and for Irene, in an effort to straighten out and fly right.
(Amid all of this fascinating, unexpected, but largely internal drama, it’s notable that Nacho’s portion of the episode is downright straightforward. The episode pays off the dummy pills it set up in “Slip”, and Hector’s debilitating infuriation at having to put his lot in with “The Chicken Man” established in “Fall”. There’s some minor tension in the scene where Nacho’s father seems poised to stand up to Hector but relents (with a great performance from Juan Carlos Cantu), a bit more when Nacho shows himself willing to train a gun on his boss rather than risk Hector hurting his father before his pill plan works, and the knowing look Gus offers after Hector succumbs. But for the most part, this is where the show simply dutifully knocks down what it previously set up.)
It ties into the symbolism that the episode is steeped in. “Lantern” opens on a young Chuck McGill reading to his brother by lantern light. He’s still supercilious (and it’s a great vocal mimic from the young actor), but the whistle of that gas lantern symbolizes the connection between the two siblings, the fact that despite Chuck’s issues, there is a light still burning for him.
That’s the difference between Chuck and Jimmy. Chuck manages to systematically alienate anyone and everyone who cares about him, from pride, from overconfidence, and from self-centeredness. We don’t know exactly what happened with Chuck and Rebecca, but we know that Chuck pissed away a promising chance for reconciliation rather than admit his condition. We see him push away Jimmy, the one person who really loved Chuck, giving him the devastating pronouncement, “you never mattered all that much to me.”
And when he goes to shake Howard’s hand, with the expectation that he will be welcomed back with open arms, Howard not only rebuffs him, not only sends him off from the firm he helped start, but he reaches into his own pocket to do it. He is so ready to be rid of Chuck, so tired of his crap, so devoted to the good of his firm, that he is willing to pay personally to be done with his erstwhile partner.
That is a wake up call of a different sort of Chuck, one that severs his last connection to the world, that sends him on a downward spiral away from the progress he’d made on coping with his condition. In “Lantern”, Jimmy admits that he’s not good at building things, only tearing things down, a pathology that seems to affect both McGills. For Chuck, that becomes more literal, as he methodically tears his own house apart trying to find the source of the electricity that is driving him deeper and deeper into his insanity.
“Lantern” revels in this, taking the time to show the escalation in Chuck’s madness when he realizes he is truly and utterly alone. It starts with simply shutting off the breakers, then checking the switches, then tearing at the walls, and finally ripping the whole place apart. We’re back to “Fly” from Breaking Bad, an unscratchable itch, an unattainable goal, that stands in for deeper issues the character can’t bear to confront directly. Better Call Saul holds the tension of these moments -- the threat that Chuck will fall off the ladder in his light-bulb snatching ardor, that he’ll electrocute himself grasping at wires buried in drywall, that he’ll cut himself on the shattered glass or sparks of his smashed electricity meter. Instead, it’s Chuck’s own deliberate hand that seemingly does him in.
The last we see of Chuck is him sitting delirious on in his torn apart living room. He is in a stupor. The whistle of the gas lantern returns. And throughout the scene, there is the knock, knock, knock of Chuck kicking at the table where it rests. Chuck’s descent is a straight line, a gradual peeling off of all the people who would give a damn about him. The lantern symbolizes his connections to other people, the quiet hum of the other lights in his life, that he continually had to snuff out to make sure his shined the brightest. That is, in a symbolic and more literal sense, his undoing. The distant crawl of flames that ends the episode sees to that.
And yet, once again, he is right about his brother. That’s the inherent tragedy of Better Call Saul. There’s room for decency in the parts of Saul Goodman’s life we never see in Breaking Bad, but whatever strides he makes here, whatever changes he commits to, we know that eventually, he backslides into becoming the huckster who helps murderers and criminals take care of their problems by any means necessary.
Before he descends into his mania, Chuck offers one last, unwittingly self-effacing assessment of his brother. He asks Jimmy why express the regret, why go through the exercise of pleading remorse and trying to change. Chuck tells his brother that he believes his feelings of regret are genuine, that he feels those feelings, but that it’ll never be enough to make him change, that he will inevitably hurt the people around him. There’s the irony that Chuck himself is scelerotic, that he is just as un-self-aware, incapable of overcoming the lesser parts of himself, but he isn’t wrong. The audience knows that and knows where kind-hearted Jimmy McGill ends up.
That’s the idea this season opened up with, and maybe the theme of the whole show -- you cannot escape your nature. Cinnabon Gene has every reason to keep his mouth shut when a young shoplifter is taken in by local cops, but he cannot help but yell out that he should ask for a lawyer. There are parts of Jimmy that he will never tamp down. Maybe, if his brother had truly loved him, had helped him to channel those parts of himself in a good direction, he could have used his charming, conning ways in service of helping old ladies with wills or other injustices. But there is a part of Jimmy always ready to slip, always ready to go to color outside the lines, to go to extremes, to get his way.
When he does that, people get hurt, people like Chuck. Jimmy is not to blame, at least not solely to blame, for his brother’s (probable) death. Chuck has brought more than enough of that on himself. To paraphrase Kim -- he’s an adult; he made his choices. But Jimmy had a hand in the catalysts for what happened to Chuck, in the things that drove him apart from Howard, that threw a monkey wrench into Chuck’s recovery, that made it impossible for him to return to practice and the life he once knew, the prospect of which seemed to energize and inspire him.
That is going to haunt him. The one thing Jimmy wanted almost as much as his brother’s love was his brother’s respect. Chuck’s likely last words to him will be essentially that he never really loved Jimmy and that he’d only really respect him if he embraced the harmful person he is deep down, and owned it, rather than fighting it. Jimmy won’t learn what happened to his brother and wake up the next morning as a fully-formed Saul Goodman, but that final thought, that warning and proclamation, will linger with him, eat him, even as he makes these grand gestures in the name of being a better man. It’s Chuck’s last awful gift to his little brother.
The changes that happen to people as they grow and evolve are rarely as neat or clean as Walter White’s elegant descent into villainy. They are an accumulation of little moments, stops and starts, peaks and valleys, until another person emerges from the slow tumult. Few people turn into monsters overnight or have one grand moment where they change completely. Instead, for most, it’s just that little by little, moment by moment, person by person, the light goes out.
Wow. I am absolutely speechless. That last half hour was probably one of the most amazing things I've ever seen on television. It touched me deeply and made me feel so many things, I can't even describe them. I've been sitting here, just staring at the screen for quite a while now.
Mr. F****ing. Robot.
[9.8/10] What an episode! It's hard to imagine an hour of television that could draw out the differences between Jimmy and Kim better than this one.
In the wake of Howard's death and all the sins she committed and enabled, Kim numbs herself in a colorless world of banal conversations and empty experiences. Everything about her day-to-date life is colorless and dull, resigning herself to a sort of limbo as both penance and protection from inflicting anymore wrongs on the world. And even there, she won't make any decisions, offer any opinions, as though she's afraid that making any choice will lead her down another bad road.
Until Gene intervenes, balks at her command to turn himself in, and tells her to do that if she's so affronted by what they did. And holy hell, she does! If there was ever an indicator of moral fortitude in the Gilliverse, it's that. The courage of your convictions it takes to have gotten away with it, lived years away from the worst things you've ever done, and still choose to return to the place where it happened and accept your punishment, legal, moral, or otherwise, is absolutely incredible. Rhea Seehorn kills it, especially as Kim comes crumbling apart on an airport shuttle, amid all the hard truths she set aside for so long coming back in one painful rush. It's a tribute to Seehorn, and to Kim, how pained and righteous Kim seems in willfully choosing to confess and suffer whatever fate comes down, unlike anyone else in Better Call Saul or Breaking Bad.
It makes her the polar opposite of Gene, who finds new depths of terribleness as the noose tightens around him. As he continues the robbery of the cancer-stricken man whose house he broke into in the last episode, he finds new lows. Even when this risky excess has worked out for him, he pushes things even further by stealing more luxury goods as time runs out. He nearly smashes in the guy's skull with an urn for his own dead pet. He bails on Jeff. And when Marion finds him out, he advances on her with such a physical threat, a dark echo of the kindness to senior citizens that once defined his legal career.
The contrast is clear. Kim will turn herself in even when she doesn't have to and has excuses and justifications she could offer. Gene resorts to ever more cruelty, fraud, and craven self-interest to save himself from facing any of the consequences he so richly deserves. Kim is right to tell Jesse Pinkman that Saul used to be good, when she knew him. The two of them will understand better than anyone else in this universe what it's like to attach yourself to someone who sheds everything that made them a decent human being. Jimmy lost the part of himself that was good, or kind, or noble, even amid his cons. But Kim held onto her moral convictions, and it's what makes her not just Jimmy's foil, but the honorable counterpoint to the awful person he became.
EDIT: Here's a link to my usual more in-depth review of the episode if anyone's interested -- https://thespool.net/reviews/better-call-saul-season-6-episode-12-recap/
I shouldnt say this, but this Daemon-Rhaenyra thing turned me on.
The episode should have ended after "Let's burn this place to the ground". Perfect last line. Cut to credits.
The newly introduced character of Ulana Khomyuk is an amalgamation of several actual characters who worked with Legasov to prevent the second explosion. Even though she is fictional, she provides invaluable insight into the even greater danger of a potential second explosion. The possibility of that second explosion is fact. It would have happened if not for the bravery of the three men who volunteered to drain the water tanks.
The conflict between Legasov and Shcherbina was remarkable. This series continues to amaze with its recreation of the event, but adds just the right amount of dramatization without being offensive to those of us who find the facts as, if not more important, than just being entertained.
I don't really know how to put in words my love for this show. This was a very satisfying finale and the description could not be more perfect.
We got the answers we needed but its up to us whether we want to believe them. I believe Nora but it doesn't matter. This has always been a love story between two very broken people. Kevin realizing he has been just running from his life and just keeps coming back (see the end of every season). He becomes obsessed about finding Nora and him coming up short for all those years is truly heartbreaking. Nora finding her children and realizing that she is not needed. Spending all that time to just look at them from a distance and see them one last time. They fixed their problems the best the could. In the end, when they finally get back together, they are honest with each other and can be happy together, no more bullet proof vests and bags over the head. The last shot was beautiful with the two of them in a house and the messages of love coming back home. This was a surprisingly happy ending to an overall very depressing show and I'm ok with that.
This is one of, if not, the greatest TV shows ever.
The most cinematographic episode so far, with great photography and music, which made it very intense and powerful in some parts; but unfortunately it has some quite unrealistic elements, like Sir Criston murdering a guest and just walking away...
the one eyed boy aged like +10years while the Rhaenyra's kids looked like they aged only 3years. the passage of time is so wildly different between characters, makes it feel so inconsistent
Contains major spoilers !!!!!
Huge and utterly dissapointing. After TFA I said this movie would make or break the story. For me it broke.
Where to begin? Let´s start with my biggest problem.
After that rebel cruisers bridge was hit and Leia was thrown into space we saw her drifting in the cold empty vacuum of space. This was a powerful scene and I had tears welling up in my eyes thinking that would be a great ending for the character dying how she always lived. Fighting. I did not realise, or care, that it would have been a huge coincidence had they written this scene at that point not knowing Carrie would pass away. But as I said powerful scene. And then she opens her eyes and floated back into the ship still beeing alive. At that point I was seriously considering leaving the cinema. It´s scifi but, please, without as much as a hint of an explanation that is just awful writing. It is Disney all over it. Anyway I stayed and watched the rest but in general I was done with the movie.
There are tons of other things I didn´t like.
way to much unnessesary and stupid humor. Most of the time it does not fit and just destroys scenes. Holding for General Hux - that might have been OK once but two or three times it just becomes goofy. And there is more of this througout the movie.
the writing was all over the place. So much things going on that do little to nothing for the general plot and just add playtime. Like that whole thing with the codebreaker, going to the casino. Just sugarcoating CGI.
and speaking of playtime - way too long. About five times towards the end I thought it was over. It could have ended when the reached the rebel base- no let´s add another battle. When they realised they where trapped. With Luke going out to face Kylo. At some point I would have been OK with the movie ending with the First Order defeating the rebels, everyone dying, and the franchise done with. But of course that is not happening and the movie ends.....no, just show us a kid with a broom looking at the stars and indicate he could be the hero of a future movie.
in many ways the continuation of storylines is not satisfiying. They introduce Snoke in the first movie without an explanation who he is, where he comes from and how he got there. Would have been OK, could have done later. So now he´s dead without so much as a fight and there are questions left to be answered.
what about Rey ? Are we really to believe her parents were some drunk and drifting scavengers that sold her for money like Ren said ? That would be very stupid because how in the universe could she master the Force in ways even the best Jedis or Sith couldn´t without as much as years of training. Another void in the storytelling.
too many, shall I call them, homage scenes ? A lot of times I felt I had already seen this movie. The scene in the throne room f.e. Snoke = Emperor, Rey = Luke, Ben = Vader, the destruction of the rebel fleet playing in the background and the Ben killing Snoke is like Vader killing the Emperor. I know that was said about TFA as well but I feel it´s much worse here. The Battle of Hoth reviseted would be another thing where they re-did some scenes to a T. All that was left was tow cables.
Those are just some examples of the things I disliked and maybe there could be satisfactory explanation later. There is a lot more but it would take too much time to write it down. But I doubt I will go to the cinema for the next one.
To be fair there where some positives in this movie.
I liked the scenes with Rey and Luke althought they did not really lead anywhere. But some nice insights into Lukes story after ROTJ.
The conversations between Kylo and Rey where very interesting and I thought there was really potential to steer the story to something new and exciting. Not happening.
So overall I was not satisfied. I really like TFA, it built some expectations that where all crushed with this. As far as I am concerned I am done with this new story. I am not not very eager to find out what else the canibalise and how they try to write themselves out of this. There is nothing left.
This is my view of the movie. If you liked it I´m happy for you.
May the Force be with us. Always.
This first episode gave me more chills than a horror movie :neutral_face: I'm really looking forward to see the next episodes!
After 6 seasons of meticulous setups and character developments, the series finale of The Americans ends, appropriately enough, on a quiet note.
The episode has very minimal dialog. Each word is carefully consumed. The rest is driven by imageries, powerful performances from 4 leads (Philip, Elizabeth, Stan, and Paige), and effective selection of music from Dire Straits, U2, Tchaikovsky, and the series composer Nathan Barr.
Three amazing scenes.
The garage: The exchange between Stan, Philip, Elizabeth, and Paige is more suspenseful than all the heists, chases, and kills in the entire series, driven solely by performances.
The train: Totally unexpected and perhaps the most dramatic and heartbreaking scene in the entire series.
The car ride home: The border crossing, Elizabeth finally sleeping in peace lovingly leaning against Philip. They lived in a sea of lies. But their marriage was as real as any. The only thing they can trust as 100% authentic. Absolutely beautiful.
These three scenes are expertly interconnected with fantastic ensemble and writings.
The series finale will stick in my mind for years to come.
The only thing I didn't like about this episode was that Bill died, meaning we didn't get to see him interact with Ellie, which was a wonderful part of the original game.
Aside from that, this episode is near faultless. It's the most original thing the show has done so far, by taking a side character from the game and fleshing out his backstory. It's deep, it's emotional, and it's a joy to watch.
Anyone complaining about wokeness and forced LGBT content has no clue what they're talking about. Bill and Frank were always a couple, even in the game. It's just that we didn't meet Frank in the game because he was already gone. Literally the only part of any of this episode that is not faithful to the source material is the fact that Bill died before Joel and Ellie got there.
"Remember Red, hope is a good thing, maybe the best of things, and no good thing ever dies."
Finally! I don't no why it took me so long to see one of the most acclaimed films of all time. The Shawshank Redemption really moved me.
The emotion that was put into it, was something really truthful and real. Even when there are moments where you predict what is going to happen next, its subtleness and immense depth affects you anyway. Since the very first moment, we are attached to it and not many films do that with the audience. Such a simple story but with such content.
Frank Darabont direction was amazing! The film has over two hours and you never get bored, you are driven by the emotion of the events and the great cinematography makes you feel the terrifying life in prison.
The performances from all the cast are something great to see but Morgan Freeman and Tim Robbins are the ones who gave absolutely phenomenal performances. The performances of a lifetime.
I can see why many people love this film. They love it because is power makes it unforgettable. Now I love it too, and I will always remember it.
An absolutely beautiful story about hope and friendship.
Welp, like Tryion said, We're fucked. Living vs. The Dead. Season 8 A fight that only comes once.
The dragon pit scene was awesome. Getting so many characters all in one place at the same time was great to see. So many quick “oh, hey you’re still alive” moments. One of the best was Brienne and the Hound. Speaking of the Hound, we did not get the Cleganebowl we have been wanting for so long but at least he was able to tell his brother off. Maybe next season…
Cersei, as the hound would say, is a real cunt. She truly is the biggest villain this show has seen. She is lying to everyone about sending her armies north and bringing in more mercenaries to help fight while Dany is a little occupied. She not only threatened to kill not one of her brothers but both of them is the same episode. Jamie is finally getting smart and getting away from her, even if he is leaving to go fight an army of undead. I honestly think she might stick around to the end and keep the iron throne. She has no problem doing whatever it takes. She has a kid on the way and that is all she is worried about now (I still don’t think she will have the child because of the prophecy said she would only have three). Oh and the shot of snow falling on King's Landing was a beautiful reminder that winter is here.
The winterfell storyline finally did something amazing. Sansa’s “trial” of Littlefinger was a long time coming and with Bran there was no denying. I’m so glad Arya got to kill him with his own dagger. The sisters finally started acting like family.
Nice to see Theon having another chance at redemption. He had a nice moment with Jon about their dad, well technically Ned was neither of their father. I hope he gets to save Yara next season. I wonder where she is if Euron is going to Essos or could she already be dead?
The show finally says what all the fans have know for years, Jon is a true Targaryen and the rightful heir to the Iron Throne. And they say it just as the two have sex for the first time, nothing new for this show. I’m sure this won’t be a problem. Dany will be cool with it, right? I mean the old Targaryens were into incest too. Maybe not we'll just have to wait and find out.
That last scene really was a little frightening, to see something that has been keeping the white walkers out for 8000 years to just go down like that. Now that the Night King has a dragon they are really going to cause some havoc. RIP Tormund and Beric? I don't think there were able to get off the wall in time but were they on the part still standing?
Great season, moved a little too fast and missed some of the slower character moments from old season. They definitely had some of the largest battle scenes TV has ever seen and I’m sure we are not done yet. Let the wait for season 8 begin…
What Nancy did for Dustin was really sweet. Why can’t she be like this the whole time? She’s much more interesting when she’s not chasing after a boy.
I just LOVE how so many people are butthurt by this episode. Just goes to show how much this is still needed in our world. This was a masterpiece in storytelling.
