"The Door" is a travesti of what "Game of Thrones" was and has been in most part of the series. Don't take me wrong because I don't have anything against someone pretending to be someone else, I simply have everything against this particular season pretending to be what "Game of Thrones" originally was: a masterpiece.
And please, I am a fan of the series, don't get "sparrowed" on me, but "Game of Thrones" (the series) is much more than this.
Max Von Sydow astonishing qualities as actor were stupidly put in a corner on this season and "Three-Eyed Raven" was badly introduced as a character (with Mr. Sydow as actor) without any kind of literary depth; the scenario was poorly done again without any kind of mystery or dimension just a plain dirty muddy dark hole with a netted tree, and the "Children of Earth" (Sprites) "playing" in the background like extras resembling more a vain sketch. Both Three-Eyed Raven and The Children of Earth are far away too important to be presented in this cheap way...
No time nor narrative enough to get attached with these unknown species and by consequence no emotional response watching the sacrifice of one of them exploding himself for Bran's safety; equally, no emotional response when realizing that the "White Walkers" were after all their creations. Just the visualization of some actors wearing some banal fantasy costumes "pretending" to be fashionable in a Gothic Baroque way playing the role of some androgynous creatures.
So, we had to digest the Dothraki language bullshit but non-human creatures with thousands of years old now can speak English?
The ritual was excruciatingly bad not only in terms of bad FX but also in terms of narrative: The sacrifice happened thousands of years before the contemporary timeline of the series. How it is that the scenario, Children of Earth's appearances, even the facial traits of the executioner are the same as in the present time this episode is happening? (Not to mention that the King of the White Walkers is constantly changing his appearance in opposition) Even so, how is it that the narrative of the analepse (flashback) is so trivially put as if something secondary which happened a couple of tens of years although somehow relevant is being described? How can this discrepancy be, taking into account "Game of Thrones" HQ standards? Is this the right way to disclosure such important information?
Take the introduction of the Giants as comparison (S03 E01), or the original "White Walkers" (S01 E01).
And by the way, White Walkers are now able to transport themselves instantly to another places?
I'm not even mentioning the mediocre characterizations and roles of Pilou Asbæk and Michiel Huisman as Euron Greyjoy and Daario Naharis. Nor their narratives which in the best attributions are secondary.
Nor even the boring, boring, boring Sand Snakes... (I know they don't appear on this episode, but I'm afraid they will in the next ones)
Nor referring to Emilia Clarke's snotty farewell to Sir Iain Glen... or Sansa's or... almost every single aspect of this episode (and the season).
Except maybe for Hodor, not at all for his death, which sounded too much cruel and paradoxical for me, but by Isaac Hempstead Wright and Sam Coleman performances and most specially by Kristian Nairn's superb dramatization.
This nasty habit of killing characters just for the sake of shocking is getting banal and dormant in response. I believe that even the amount of time a Semi-giant is able to hold a door pushed by hundreds of zombies, is not enough for a girl pulling an improvised Travois carrying a crippled teenager to safely escape (except of course if a miracle happens).
Even if Hodor's fate was dramatically forged by Bran's mistake which is a well written piece of script, the presentation of it "sounds" poor and "unjustifiable". It sounds as if Hodor was sacrificed for the sake of this episode.
We waited for 5 seasons for... this?
And please, I am a fan of the series, don't get "sparrowed" on me, but "Game of Thrones" (the series) is much more than this.
Max Von Sydow astonishing qualities as actor were stupidly put in a corner on this season and "Three-Eyed Raven" was badly introduced as a character (with Mr. Sydow as actor) without any kind of literary depth; the scenario was poorly done again without any kind of mystery or dimension just a plain dirty muddy dark hole with a netted tree, and the "Children of Earth" (Sprites) "playing" in the background like extras resembling more a vain sketch. Both Three-Eyed Raven and The Children of Earth are far away too important to be presented in this cheap way...
No time nor narrative enough to get attached with these unknown species and by consequence no emotional response watching the sacrifice of one of them exploding himself for Bran's safety; equally, no emotional response when realizing that the "White Walkers" were after all their creations. Just the visualization of some actors wearing some banal fantasy costumes "pretending" to be fashionable in a Gothic Baroque way playing the role of some androgynous creatures.
So, we had to digest the Dothraki language bullshit but non-human creatures with thousands of years old now can speak English?
The ritual was excruciatingly bad not only in terms of bad FX but also in terms of narrative: The sacrifice happened thousands of years before the contemporary timeline of the series. How it is that the scenario, Children of Earth's appearances, even the facial traits of the executioner are the same as in the present time this episode is happening? (Not to mention that the King of the White Walkers is constantly changing his appearance in opposition) Even so, how is it that the narrative of the analepse (flashback) is so trivially put as if something secondary which happened a couple of tens of years although somehow relevant is being described? How can this discrepancy be, taking into account "Game of Thrones" HQ standards? Is this the right way to disclosure such important information?
Take the introduction of the Giants as comparison (S03 E01), or the original "White Walkers" (S01 E01).
And by the way, White Walkers are now able to transport themselves instantly to another places?
I'm not even mentioning the mediocre characterizations and roles of Pilou Asbæk and Michiel Huisman as Euron Greyjoy and Daario Naharis. Nor their narratives which in the best attributions are secondary.
Nor even the boring, boring, boring Sand Snakes... (I know they don't appear on this episode, but I'm afraid they will in the next ones)
Nor referring to Emilia Clarke's snotty farewell to Sir Iain Glen... or Sansa's or... almost every single aspect of this episode (and the season).
Except maybe for Hodor, not at all for his death, which sounded too much cruel and paradoxical for me, but by Isaac Hempstead Wright and Sam Coleman performances and most specially by Kristian Nairn's superb dramatization.
This nasty habit of killing characters just for the sake of shocking is getting banal and dormant in response. I believe that even the amount of time a Semi-giant is able to hold a door pushed by hundreds of zombies, is not enough for a girl pulling an improvised Travois carrying a crippled teenager to safely escape (except of course if a miracle happens).
Even if Hodor's fate was dramatically forged by Bran's mistake which is a well written piece of script, the presentation of it "sounds" poor and "unjustifiable". It sounds as if Hodor was sacrificed for the sake of this episode.
We waited for 5 seasons for... this?
