Game of Thrones is all payoffs now, with little storytelling –

Game of Thrones
About two-thirds of the way through Game of Thrones’ final season premiere, Theon Greyjoy executed a daring raid to rescue his sister Yara, something he had vowed to do in the previous episode, the season seven finale. He climbed aboard the ship of Euron Greyjoy, his uncle, with a small band of warriors at his side. They make their way down to the hold, then cut down the guards holding Yara captive. Theon releases his sister, and then the two make their way out of the ship and off to a waiting boat. She sails off to the Iron Islands; he makes his way north for the final battle with the White Walkers. Except ... none of this happened. Here’s how this actually played out on the show: In the season seven finale, Theon said he was going to go rescue his sister. In the season eight premiere, we saw Euron threaten Yara a bit, to establish she was on his ship. .

Later, we cut to Theon entering the hold to free her. The next time we saw the two, she was returning to the Iron Islands, and he was headed north. This story is a minor example of something that has come to bedevil Game of Thrones more and more in the second half of its run. As the storytelling speeds toward the show’s conclusion, it increasingly doesn’t tell stories. It sets stories up and pays them off, and hopes that you don’t notice it didn’t do anything in between. Second acts are disappearing all over Hollywood Jon and Dany, in love forever. HBO In the summer of 2016, I lamented something I noticed taking over blockbuster filmmaking: the loss of the second act. .

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