Patten & Boucher Discuss Legacy of Daatherys Wrath & HBO Series – Deadline

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SPOILER ALERT: This article contains details about Game of thrones last season and discussion on the last episode of the HBO series.

Multiple Emmy Winning Game of thrones finishes his eight season season tonight on HBO. In anticipation, Dominic Patten, editor-in-chief and television critic for Deadline, and our heroic genre leader and hero, Geoff Boucher, sat earlier this week to review the series they love so much, the warts, dragons, etc.

PATTEN: So, Geoff, let's start with the obvious in this finale: who do you think will end up on what may or may not remain the Iron Throne?

BUTCHER: Well, I think it will be Sophie Turner's Sansa Stark myself. I think she has all the characteristics of a born chef. You know, the path she took was unexpected and she was shaped by destiny and touched by fate.

PATTEN: My God, we started so boring because I think Sansa will have some too. I think Turner's character has had so much development. Again, the fact that David Benioff and DB Weiss were able to turn George RR Martin's books into a show, after what was a less than avant-garde pilot before the covers, is a miracle in itself, and then such an Emmy Win Show is a canonization of small screens in progress.

But for me, the fundamental element of Game of Thrones is a character-driven drama, and Sansa has evolved remarkably as a character of Westeros, a defiant and politically savvy beginner under the northern reign. Of course, there are controversies about the assaults in the scenarios, and the fact that Sansa says that these rapes made her stronger, which was another damn wrong step on the part of the producers and the writers, in my opinion, with regard to female characters, social media after the episode "The last of the Starks" to exclaim.

BUTCHER: It is one of the legacies of every work of art, that it will be judged in the time it has been created, and that it will then be judged by all the eras that follow. I think the sexual violence of Game of thrones people will look back, and maybe they will look at this issue and these representations with a nasty eye or perhaps with a judgment eye as people have already done during the series and the latter season.

PATTEN: What do you mean?

BUTCHER: Well, violence and sexual violence and controlled violence in the show are certainly the currency of the kingdom and the language of the land. But when the camera lingers and the scene lingers and the point of view is a regular drumbeat of the story, the narrative starts to add up, and you have to ask yourself if it depicts the story or if it portrays an aspect of storytelling that is necessary or not.

PATTEN: There have certainly been people who have talked about this season feeling a little bit of Dallas Cheat and Bobby Ewing who comes out too often from the shower, with the story or the characters just jumping to the end and I understood. But I feel, in many ways, that Game of throneswhere she has done best is in these emotional hearts, it is in these moments of tragedy that seem so poignant. I must say that I've always been very uncomfortable with the way sexual abuse was used as narrative.

BUTCHER: Me too. On another level, one of the reasons I found Game of thrones a series as amazing and marvelous at first was that it defies the usual physiognomy of a story in which you knew that some people were protected and would live forever. That's why the death of Ned Stark (Sean Bean) during season 1 was so painful for everyone. Now I have the impression that this physics, its laws have changed, and that the series has become more traditional towards the end, and that this is becoming a very special episode, and I think that it is that's why people do not feel like before. faithful to the characters.

PATTEN: I understand that. I bet it's also why a number of people have been very upset this year by the way Emilia Clarke's Daenerys Targaryen has apparently turned into a mass murderer and the typical character of a crazy queen, a crazy woman.

This snapshot aside, and it's a big drawback I know, Benioff and Weiss's scripting critics make it hard to remember parts of the story here in past seasons. Besides the fact that his father, the previous king was two tacos of the suit, the mother of the dragons was a cold-blooded killer throughout Game of thrones almost every time his will is challenged. Add to that the loss of his real confidants Jorah Mormant (Iain Glen) fighting against the King's Army of the night, then the brutal loss of Missandei (Nathalie Emmanuel) by the sprawling orders of Cersei (Lena Headey) to Recent episodes – you do not need to read your Carl Jung to find out how this emotional reaction is going to occur.

And we know that anger, frankly speaking, is a stage of sorrow – anger to which the Khaleesi can do something. What must really be zero now if you named one of your kids after the character or if you got a tattoo.

Game of thrones

BUTCHER: In the books and the show, she is a very angry woman and she is on a mission from the day of her birth to become a queen. Now, she had a critical moment after the death of her friend and after all that happened during these last episodes, and she fell back into the red rage that she was shown before – she was the only person out of that building on Fire Season 6 for the Dothraki to bend her knee to her. She is now this person again.

PATTEN: Exactly.

BUTCHER: For fans, it's their right, their privilege and their joy to debate, discuss and deconstruct these things. But that makes sense to me, because if you look at the history of the world, you'll find a lot of examples of people who have been caring leaders and suddenly, suddenly or dramatically did terrible and terrible things under a lot less stress. that we have already done. saw this woman endure.

PATTEN: At the same time, Game of thrones For me, it was always a little soap opera and I say that with the respect that I thought that the ark of good sops is often forgotten in its great finesse. Now The Thrones is a soap-opera with incredible strengths, incredible powers and drama and sometimes comedy, although much more dramatic than comedy, for the most part, except King Robert Baratheon (Mark Addy), but I think that has sometimes constantly ignored this soapy prospect, which engulfs a large part of the books and the show.

The other thing, in my opinion, is also part of the trauma of the fans. Their favorite show, probably the most popular show in the world right now, is coming to an end, and it's going to cause grief, and what do you do when you're in mourning? Well, as I have already said in the case of Daenerys, we know that when we talk about the five stages of grief, one of them is anger.

BUTCHER: It's very clever.

PATTEN: Why thanks

BUTCHER: I think you're right that there is a lot of grief among the fans and that it manifests itself in different ways and in different ways. People like to watch Game of thrones as an engineering puzzle. For example, if you do this lever or if you pull this handle or press this button, this happens and wait, I pressed this button and something different happened. So this machine is wrong. You know, they treat this as a logical equation, but they are things that concern the human heart and mind, fear, anger, passion, destiny, and everything else. So logic does not always apply.

PATTEN: One of the elements of this situation is the fact that the producers, HBO and even some actors are attacking them, because they do not like the fact that something ends, that they wish, could last eternally. I understand that people are unhappy. I understand they're not going to have Snow Snow any more, to paraphrase Richard Nixon.

BUTCHER: This is because there has never been a show like this or even an entertainment experience like this. I was trying to think that if in the history of literature or pop culture, there had been a parenting experience like that with Arya Stark (Maisie Williams), where you saw a character grow up and become popular at a time. have this depth of an interactive experience, and I can not think of any corollary – not Luke Skywalker or Walking Dead.

PATTEN: Not really, is not it? It's a complete exercise Eu POV fanboy, but I think the success of the series is largely from the 21st century, in the era of cable, in the era of the Internet, in the era of mass television distribution and Peak TV.

I'm a fanboy and TV critic, what do you think about the biggest scope of pop culture? While waiting for the prequels and the fallout, do you think that the original Game of thrones is going to have that legacy of nostalgia that HBO really hopes to have? Do you think this is going to be looked back at the way you and I look at Star wars or even Star Trek?

BUTCHER: You know, I think it'll be fine. It is difficult to say with certainty, of course, simply because there is such an imbalance in the way entertainment and art are created and consumed. Nowadays more than ever, a television show has the opportunity to become a literature and to sit on a shelf.

PATTEN: What do you mean?

BUTCHER: Not many young people today have seen Roots, the original series. Few young people came back and watched Lonely dove or the complete series of Cheers or the other conventional shows and television moments that people refer to as milestones. But, as you suggested, Game of thrones is from this era of monitored frenzy and digital library, and I think it will have a very long life, and I think it's a bit like a very mature the Lord of the Rings.

PATTEN: You know what? I am an idiot. I have forgotten the Lord of the Rings among the canons of classics. I'd also add, point out, too, with Sean Bean in it. Sean Bean could be the secret weapon of a series or a successful sword franchise.

BUTCHER: Yes, if he's killed, it's a chance to become a classic,

PATTEN: You were too nice to agree with me there but you could have a different answer now …

BUTCHER: How?

PATTEN: This could be heresy for some. I am happy Game of thrones end.

I think you can get too much good stuff and no reference from Kenny Rogers here, but it's important to know when to withdraw. With that, I do not know if I will think that the final is perfect. But again, I think there are only two perfect finals in my opinion, which is Newhart and the final of Six feet Under ground.

As now thinks the final of The Sopranos is sublimely brilliant, but at that moment, I was confused, a little angry and a bit incomprehensible. I feel, no spoilers for what's going to happen, but I feel that it's like that the end of Game of thrones will leave me. It's going to take a long time because the ends are difficult, man, like ruptures – they never feel good when they happen, even when you know the time has come. That's good because I think that eight almost brilliant seasons are a very good way to go, instead of 12 seasons for which we simply could not hold up at the end, which happens to far too many shows.

The end of the Sporanos

BUTCHER: It's always better to go out in front. Finals are an interesting thing, is not it?

As The Sopranos, the final of Game of thrones It looks more like a draft day, an arrival line. I think that after all is over with the end of season 8 of The Thrones and as a whole, people's point of view can change.

I had the same experience as you and a lot of people with The Sopranos. At first I was a little helpless and had the impression that the series might have cracked in the end or something of the sort. Now, I think back and see how it fits into the rhythm of David Chase's show and in the cadences they've created, as well as in the story and the point of view. That's because this show aspired to be on-screen literature and that's what it has in common with Game of thrones. So I'm looking forward to seeing him.

It looks like a book with only a few pages left, and I get the impression that there should be 100, but I'm going to stay until the end, and you know, summer is coming.

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