^ Somebody doesn't grasp the Ice and Fire symbolism it seems.
I wasn't expecting it to be that gruesome. There were some things in there that you almost never see in film/tv historically based battle scenes.
The piles of bodies and trampling were a huge thing in massive open field battles and I thought it was a tremendous touch to add that to the scene. Hell, just on a visual level it adds so much.
Anyone else thought Sansa showed troublesome signs of psychopathy?
Besides the whole Ramsay affair towards the end. How, she got the nerve to smirk during the heat of battle in which her little brother was brutally pierced by arrows is beyond me. It was almost as if she wanted to get Jon's attention so that she could terrorize him some more. Also, her dramatic departure during the meet was so silly. She's a real Joan of Arc character, isn't she.
One of the best hour's of media of any kind I've ever seen. It's so puzzling how they can alternate between struggling to write characters for episodes and episodes and writing everything in peak form.
I think Dany is far, far more dynamic and well developed than most of you do. I also don't think the show parades her around like an altruistic hero nearly as much as many of you seem to.
That long take of Jon was fucking insane. Sapochnik did a similar shot with Jon in Hardhome but this one had so much more going on. The arrows flying in on Jon, that dude getting destroyed by a horse (holy shit moment right there), and just the general chaos going on around him as we follow. Really really brilliant stuff
Sapochnik da gawd
Miguel Sapochnik: I watched every pitch field battle I could find (footage of real ones too), looking for patterns — for what works, what doesn’t, what takes you out of the moment, what keeps you locked in. The big reference was Akira Kurosawa’s RAN.