Watch “Game of Thrones” from the perspective of someone who has read all of George R.R. Martin’s novels, while my colleague David Malitz, who hasn’t read the books, will be writing straight recaps. His write-up of Episode 3, “The Long Night,” will appear at The Post’s Style Blog. This post discusses the events of the April 28 episode of “Game of Thrones” in detail. You can find my recaps of every prior episode of the show here. Can’t get enough “Game of Thrones”? Come on over to my Washington Post chat here on Monday at 1 p.m.
Game of Thrones Episode 2019 Live Streaming
chat here on Monday at 1 p.m.
What do we say to the God of Death? Not today, apparently, after an episode of “Game of Thrones” where the show seemed both to lose its way artistically and to abandon the moral and narrative nerve that made it a genuine phenomenon. “A Knight of the Seven Kingdoms” may have raised my emotional hopes as the series headed into its endgame. “The Long Night” left me with grave doubts that it can stick its landing with the visual and moral integrity it has grasped for, and at times, attained. At the moment when “Game of Thrones” seemed poised to plunge its characters into the event of the episode’s title, it stuck us visually and intellectually in the dark instead.
“Game of Thrones” has always struggled with lighting. The series has never managed to strike a balance between preserving the sense that its nighttime, indoor and wintertime scenes were actually lit by candle and torch and guaranteeing the viewer a consistent sense of visual comprehensibility. This persistent technical devilment culminated in what feels, at least on a first watch, like a nearly unmitigated artistic disaster.
The Battle of Winterfell, much-ballyhooed as the biggest and longest battle sequence ever, was for the vast majority of its run largely incomprehensible thanks to the episode’s incredibly muddy lighting; smeary images that made it appear that my television was malfunctioning during certain crucial moments*; and the decision to use a lot of quick cuts in combination with very close shots. Occasionally, Brienne of Tarth’s (Gwendoline Christie) or Samwell Tarly’s (John Bradley) head would bob above a sea of writhing corpses, but it was extraordinarily difficult to actually get a full picture of what was going on at any given moment. The Dothraki charge, aided by the Lord of Light and then snuffed out quickly in a way that ramped up the dread that defined the episode’s opening minutes, was a rare exception.It’s absolutely true that a battle sequence can be powerful if it’s filmed in a way that gives you a sense of how disorienting it must be for the participants. But, crucially, a great cinematic battle helps the viewer emotionally understand that chaos even as it gives those of us watching at home a clarity the characters lack. I get, for example, that Jon (Kit Harington) and Daenerys (Emilia Clarke) were lost in the clouds during the Night King (Vladimir Furdik) and Viserion’s attack. But given the digital smudges and the lighting, I genuinely don’t know which dragons were snapping and tearing at each other during what were (I think) supposed to be genuinely visceral moments.Subcribe Now