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Date d'inscription : 27/12/2016
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MessageSujet: Re: Les épisodes   Les épisodes - Page 7 EmptyMer 29 Mai - 18:38

en tout cas mon infirmier déteste autant le final que toi , il est dégouté , quand il m'en a parlé ce matin
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MessageSujet: Re: Les épisodes   Les épisodes - Page 7 EmptyJeu 20 Juin - 21:47

Je crois que juste une petite minorité n'était pas dégoûté du final!


Un bon résumé de mon ressenti:

Citation :

Thoughts on 8.06

Going in, my expectations were not so much subverted as subducted. Ground down and dragged beneath the earth’s crust.

Can you go lower? Turns out you can’t. There’s nothing at the bottom the barrel but the bottom of the barrel. Which is both low, and totally predictable. This episode, this grand finale, left me feeling numb and thinking, “but of course. Why not.”

The first half of the episode was way more boring than the aftermath of burning down a city of hundreds of thousands had any right to be. But then so was the actual burning. The showrunners finally got that it’s about the journey, not the destination, as they filmed Tyrion walking, and walking, and walking. They changed it up with Jon walking places for a bit.

We get a bit more to establish that Dany’s totally evil, now - no, it’s still not from her PoV, you think we need explanations for why she’s gone all in on this war crimes thing? Characterisation? We see it all from Jon and Tyrion’s PoVs. Tyrion, once he’s finished walking places, speechifies and resigns. Then Jon visits Tyrion and Tyrion speechifies some more. The gist of it was that Jon should totally kill Dany.

This is what he was brought back for (and Bran says as much, later). This is it. Jon’s destiny. Killing Dany.

Gag me, please.

When it happens, the entire thing plays out like the writers got “Jon and Dany” mixed up with “Jaime and Cersei.” One couple dies at the uttermost end of their goals, spending their last moments reaffirming their love. Half the other couple fatally betrays the other half. Drogon melting down the Iron Throne was…a thing, sure, and a symbolic thing, but I couldn’t help but notice that the fire hot enough to melt iron also didn’t scorch Jon’s clothes, or even melt the fucking snow.

Timeskip. Tyrion is released from prison to go speak to a council of Westeros’ remaining lords and ladies. Which means more speechifying. It’s hard to express how profound this failure is. Excellent as Peter Dinklage is, his character has a real credibility problem. What has Tyrion done? What has he achieved? It’s been a long string of failures for him. Yet he talks and talks and talks and people keep listening to him.

Then, of course, he nominates Bran for king. Apparently Bran has the best story. Such a good story that Bran got dropped from the plot back in season five and, as he himself has said, literally has no motivation. Sure, why not. Arya kills the Night’s King despite having no connection to that plot, why shouldn’t Bran become king in King’s Landing despite having no connection to that plot? Guess we’ll go with that.

Of course, the Starks have their cake and eat it too when Sansa says the North will stay independent. Does this mean Bran’s going to renounce his kingship on the basis he’s not a citizen of the realm? Nope. Or that Bran’s going to do anything about half the landmass saying “outta here, bro!” Also nope.

Jon, for his part, is exiled. R+L=J did nothing and went nowhere, not even an identity crisis. It did not even lead him down the cliched path to the throne.

We then start with the epilogue in earnest. Gray Worm heads off to Naath with the rest of the Unsullied. Drogon is in Essos, where Dany presumably lies unburied and otherwise unmourned. Brienne is commander of the Kingsguard - she finishes Jaime’s page in the White Book (last seen getting shoved across a table as Jaime further invested in his relationship with Cersei), romanticising the hell out of all that evil shit he did for his sister/girlfriend. Bronn and Sam both got everything they ever wanted, no consequences, no nothing. Tyrion, too, is Hand of the King, basically ruling the place while Bran goes off looking for stuff.

What closed out the episode was the tri-Stark parallel of Jon, Sansa, and Arya, all stepping into new lives. Apart. Presumably never to see each other again. Sansa is crowned Queen in the North, Arya sails west of Westeros (much like Dany going mad, it was brought up once and therefore it’s totally developed), and Jon heads back beyond the Wall with all the Free Folk. End story.

What the hell happened to this series?

We start the story almost as we began it, but not in the good way. The Starks are scattered. A disinterested king rules in King’s Landing, propped up by factional nobles and a powerful Hand, no real scaffolding of stability around his rule. The White Walkers changed nothing. Dany changed nothing. No, she lost her battle with the human heart, was positioned as the greatest evil that had to be overcome in the story, and was killed for the greater good. Jon did nothing but kill her. The Free Folk just head right back on over the Wall to pick up where they left off. The wheel turns on, fundamentally unchanged. What is this story. Why is this story.

Why did we bother?

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“Woman? Is that meant to insult me? I would return the slap, if I took you for a man.” ~ Daenerys Targaryen
You're a lot smarter than you look. Of course, you look like a retard ~ Cordelia Chase
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MessageSujet: Re: Les épisodes   Les épisodes - Page 7 EmptyMar 29 Oct - 21:48

Quand on croit que la saison 8 ne pouvait pas tomber plus bas...


Citation :

7 significant scenes cut from the final season of 'Game of Thrones'


*All six episode scripts for the final season of HBO's "Game of Thrones" are available to read at the Writers Guild Foundation library in Los Angeles.
*Insider visited the library, and uncovered several key scenes written into the scripts that were later cut for the final episode seen by fans.
*Among these, a deleted scene of Tyrion and Sansa killing wights to save Missandei and Gilly in the Winterfell crypts was most significant.
*Smaller moments between Dany and Missandei, and even one incest-kiss between Euron and Yara, are also eye-catching.

Fans got a look at "Game of Thrones" showrunners David Benioff and D.B. Weiss' script for the HBO series' finale episode, "The Iron Throne," when it was nominated for an Emmy. But now the entire season's worth of scripts are available to read at the the Writers Guild Foundation Shavelson-Webb Library in Los Angeles.

Contained in those scripts, which we read in their entirety, are many lines of dialogue, entire scenes, or stage directions that were changed by the time the final episode was edited and aired. Though we can't know for certain why the changes were made, it's interesting to look at some of the key moments left offscreen and how they inform (or alter) our understanding of key events.

For example, a line of dialogue where Daenerys Targaryen confronts Jon Snow about how their shared blood "disgusts" him would have made their tragic romance a bit more clear-cut on the final episodes.

So let's dive in and explore the seven most intriguing scenes found in the scripts but left out of the aired episodes on the final season of "Game of Thrones."

Euron Greyjoy kissing Yara while he had her tied up as a prisoner

On the first episode of the season, "Winterfell," we meet the leader of the Golden Company — Harry Strickland — as he arrives to King's Landing with Euron Greyjoy.

According to the script for this episode, the two men were originally going to share some lines of dialogue about how Euron planned on sleeping with Queen Cersei. Strickland tells Euron that Jaime Lannister won't like that.

"She can think of him while I'm inside her," Euron says in the script. "I don't mind."

"You're a strange man, Greyjoy," Strickland says in return.

Then Euron heads below deck to speak with his niece Yara as she's tied to a post in a cabin. Euron taunts her a bit, and then the script says he "kisses his niece on the lips" after telling her he's going to "f--- the queen."

Before leaving, the last thing Euron says to Yara is, "sit here and s--- yourself like a good little girl."

In the final version of the episode, we don't hear from Strickland at all until he gets into the throne room for an audience with Cersei. And Euron's exchange with Yara is much more tame. The two talk about how he's allied with Cersei, and then he leaves without kissing her or mentioning feces.

But he does get awfully close to her face before saying he's going to "f--- the queen."


Alys Karstark has a larger role in the Battle of Winterfell

In the script for "A Knight of the Seven Kingdoms," after Theon volunteers to protect Bran in the godswood during the coming battle, Jon says he doesn't have enough men. That's when Alys Karstark says she'll be there too.

"I'll go with him," Alys says to Jon in the script. "The Karstarks betrayed your House. Allow us to earn back your trust."

(The Karstarks were the house which sided with Ramsay Bolton during the Battle of the Bastards. Jon pardoned young Alys and little Ned Umber after the fight as a gesture of reconciliation with all the Northern houses.)

The script says "Jon appreciates the girl's sense of honor" and he nods in approval. This entire exchange did not make it onto the final episode.

Later, on the third episode as the fighting is about to start, we did see Alys and her Karstark men walking behind Theon and Bran.

In the script for this episode, Alys again has several key lines of dialogue. When they hear wights starting to invade the godswood, the script says: "Alys is terrified but maintains her resolve. She motions to her men in the direction of the sound: follow me."

The scene then continues with Alys and her men walking among the trees in the godswood, following a trail of footprints. The trail leads them to a small wight-child, and the group of fighters turn to find a way out. But through the trees they can see "small figures moving with them. Snippets, glimpses of other child wights."

The wights descend upon a Karstark soldier, and Alys "turns and runs."

That's the last we see of Alys in the script.

On the show, she was near Theon in the godswood, but never had a dedicated moment on screen during the fighting. She's simply presumed dead by the time the battle is over.


Tyrion and Sansa killing wights in the crypts of Winterfell to save Missandei, Gilly, and Baby Sam

Again on "The Long Night" episode, an action-packed scene with Tyrion and Sansa was cut.

In the script's version of their crypt scene, Tyrion and Sansa hide together behind the statue of Ned Stark in the crypts of Winterfell. They grip each other's hands, and draw their dragonglass daggers, and stand.

Then the scene cuts to Missandei, hiding with Gilly and Baby Sam behind the statue of Lyanna Stark. Gilly is trying to cover Sam's mouth, but he cries out anyways. Two wights identified in the script as "DEAD STARKS" stop and turn towards them.

Just when the wights raise their swords, "they scream and fall to the floor."

"Tyrion and Sansa stand behind the deanimated wights, dragonglass daggers in hand," the script says. "She stuck him with the pointy end."

In the show's version of this scene, the moment ends once Tyrion and Sansa stand up. We never see them in any sort of fight.

Some fans likely already knew that their attack on wights was cut from the script because an HBO behind-the-scenes video (as seen above) showed actors Sophie Turner (Sansa) and Peter Dinklage (Tyrion) filming that scene.

"The whole action was really fun," Turner said. "Because I never get to do any action."

Unfortunately the entire "action" part of her scene was left on the cutting room floor.


Missandei and Grey Worm share two key scenes which explored their love more, and also help highlight Dany's isolation

On the first episode of season eight, "Winterfell," as Dany's troops are marching into the Northern stronghold, Missandei and Grey Worm originally shared their own cutesy words.

In the script's version of the episode, Missandei tells Grey Worm he "must be freezing." At first he tries to play tough but then cracks a smile and tells her: "I am cold."

"She smiles back at him. Boy oh boy they're in love!" the script says.

While a small moment, this would have made Missandei's later tragic death even more heart-wrenching.

Then, later on the season, both Missandei and Grey Worm were also originally going to be at the feast of Winterfell, and their flirtation and love left Dany feeling lonely.

Missandei and Grey Worm would have been seated near Dany, and at one point during the feast Missandei was going to sip her wine and "surreptitiously" look at Grey Worm. When she smiled to herself, Dany would have noticed, which leads to Missandei seeing her queen watching.

"When she notices Dany looking at her, she stops smiling and faces forward, trying to look dignified," the script says of Missandei.

Then it says Dany smiles a bit once Missandei is no longer watching. She's clearly happy for Grey Worm and Missandei — but then her gaze goes to Jon Snow. He's "wrapped in his own thoughts," and "Dany's smile fades."

Later in the feast, Dany would've dismissed Grey Worm. He's "unaffected by the festivities" and sits "stoic and vigilant." The queen tells him that he fought well, and she is safe in the great hall of Winterfell, so he can go rest.

When he leaves, Missandei lies and says she's not feeling well, asking Dany if she may be excused as well.

"Oh no. Your belly?" Dany asks.

Then the script direction says: "Missandei, a terrible liar, struggles for a response, while Dany (who knows she's lying) watches her squirm."

Eventually Dany gives her an out, offering up "a headache" as the reason she's unwell, and tells Missandei to go and that she hopes she feels better soon.

"Missandei leaves the feast, trying not to run."

Then comes the key part.

"Dany is happy for her friend. But she's also aware that everyone seems to be having fun except for her," the script says. "She's lonely and Varys clocks her loneliness...)

Then the scene cuts to a part that did make it onto the final episode — Tormund bragging about Jon Snow being a dragon-rider and true king as Dany watches on. While Dany's loneliness and isolation was certainly conveyed over the course of the final season, these moments would've helped really hammer home just how frustrated and sad Dany was in the days leading up to her decision to destroy King's Landing.

With Jorah dead, then Missandei captured and killed as well, plus her growing distrust in both Jon and Tyrion, Dany was really and truly alone as she headed into the fight for King's Landing.

Reading the scripts, it's much easier to track her descent into bitter loneliness and resolution against the rest of Westeros.


Tyrion and Varys pondering whether non-Targaryens have ever ridden a dragon before

When Tyrion and Varys are discussing Jon's true parentage for the first time together, Varys casts doubt on how certain they can be about this news.

"He rode a dragon," Tyrion counters in the script for the scene. "Has any non-Targaryen ever rode a dragon?"

Jon's dragon-riding abilities were often discussed among fans of Martin's original book series, since the stories there seemed to imply that it was mainly Targaryens who rode dragons. This is part of why the setup of Jon's first dragon ride was disappointing for many fans — the big test was treated as more of a goofy flirtation than a serious, life-changing moment.


When Jon first speaks with Dany after Varys' execution, the exchange originally included a lot more dialogue, some of which addressed their incest

Jon enters the room, and the first thing Dany does is confront him about talking to Varys on the beach. She asks what they spoke of.

"Jon hates confirming her increasingly ubiquitous suspicions, but he hates lying more."

He tries to just say "I think you know," but Dany presses the point.

"He knew about me. And he wanted me to claim the throne."

Then the script moves into the existing episode's dialogue, with Dany chiding Jon about knowing what would happen if he told Sansa the truth.

When the scene gets to the part where Dany laments that she has no love in Westeros, only fear, Jon tells Dany he loves her, and that she is his queen. But then script has the scene play out slightly differently. Dany approaches Jon and asks, "Is that all I am to you? Your Queen?" and he responds "no."

They kiss, and the script says "[Dany] is desperate for a connection; she cannot remember a time she has felt this alone. She pulls back from the kiss and looks at Jon. This is complicated for him. He loves her. He disapproves strongly of what she's doing. He lusts after her. He fears her. She feels his ambivalence."

"It disgusts you," Dany says.

"Dany…" Jon begins and trails off.

That is when "her expression hardens" and she says the line: "All right then, let it be fear."

On the aired episode, Jon doesn't respond when Dany asks if she's no more than a queen to him. He lets her kiss him and briefly returns the kiss — only to pull back after several seconds. That's when Dany, hurt by this, steps backwards and glares at him with a resigned sadness and says "let it be fear."

Similar to the feast scene with Missandei, this change in dialogue would've made Dany's feelings of intense loneliness even more clear to the audience watching. Reading the stage direction for Jon Snow's feelings in the moment also gives more clarity to how Jon was feeling about "his queen" at the time.


In the script, we saw Dany on top of Drogon again after she decided to burn King's Landing and its residents

The choice to never show Daenerys again after her devastating decision to lay waste to hundreds of thousands (if not a million) people was a divisive one. For some fans, the way the aired episode portrayed Dany as simply one-with-Drogon was powerful. Others felt it dehumanized her at a moment when we really needed to feel more of what was happening in her head.

In the script, there is one more key Daenerys scene written in — though it includes no dialogue. The scene comes after Arya decides to leave the Red Keep, and the script says this is "one of the few moments in this entire sequence" when we'll spend time with the Mother of Dragons.

The script says to focus "tight on flying Dany as she looks at the exterior of the Throne Room, the room her ancestors built."

Dany would see the Lannister lion sigil in the windows where the Seven-Pointed Star once was, which she clocks as a "symbol of everything that has been taken from her" and it "drives her to fury." That's when Drogon begins attacking the Red Keep, which we did see on the final episode. Whole towers and sides of walls crumbled as Dany and Drogon flew in circles around the stronghold.

This is the last of the major moments we spotted in the "Game of Thrones" scripts that didn't make it to air. For more "Game of Thrones" analysis, read our list of the best details you might have missed in the final set of episodes.


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“Woman? Is that meant to insult me? I would return the slap, if I took you for a man.” ~ Daenerys Targaryen
You're a lot smarter than you look. Of course, you look like a retard ~ Cordelia Chase
Revenir en haut Aller en bas
http://cangelbestlovers.positifforum.com/
a.a.k
Cangel 'till the end
Cangel 'till the end
a.a.k

Messages : 25753
Date d'inscription : 29/06/2009
Age : 31
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MessageSujet: Re: Les épisodes   Les épisodes - Page 7 EmptyMar 29 Oct - 22:03

Citation :
23 details uncovered in the ‘Game of Thrones’ season 8 episode scripts


* The episode scripts for the final season of HBO’s “Game of Thrones” are now available to read at the Writers Guild Foundation library in Los Angeles.
* We’ve already outlined the most significant scenes found in the scripts that were cut from the final episodes here.
* Below you’ll find more details, changed scenes, and stage directions written in the scripts that shed new light on the last six episodes of “Game of Thrones.”


The six final episodes of HBO’s “Game of Thrones” premiered earlier this year, and now all the scripts are available to read at the the Writers Guild Foundation Shavelson-Webb Library in Los Angeles. Penned by the series’ showrunners David Benioff and D.B. Weiss, as well as Dave Hill and Bryan Cogman, the scripts reveal details about scenes you wouldn’t have known based on the aired episodes.

Keep reading for a look at the most significant changes, background details, and other fun facts we found inside the “Game of Thrones” season eight scripts.


One stage direction note from Dany’s arrival to Winterfell explains her isolation in the North.

Throughout the scripts for these final six episode, the writers (Dave Hill, Bryan Cogman, David Benioff, and D.B. Weiss) include small stage directions that indicate what characters are thinking. Many of the notes for Dany’s character chart her season eight arc from heroic queen to slaughterer of innocents.

The first of these in the scripts come when Dany and Jon are riding towards Winterfell.

When Dany noticed the townspeople staring at her – in a “sullen and suspicious” way, according to the scripts – Jon tries to say he warned her about Northerners’ mistrust of outsiders.

At first Dany nods in response, thinking “she can handle it.” Then Rhaegal and Drogon fly overhead, terrifying the smallfolk and making them duck in fear.

“The barest hint of a smile crosses Dany’s face,” the scripts stage direction says. “Eat me, northerners.”


More of Dany’s mindset is explained when she meets Sam Tarly for the first time.

In the script, Sam tells her it’s an honor to serve her and that they’d stand no chance in the war to come without her.

“Finally, some bloody gratitude,” the script says. “Dany likes this guy.”

Dany’s growing isolation was apparent throughout the early episode of “Game of Thrones” on the screen, but it’s interesting to read more of how miffed she felt upon arriving to Winterfell and getting the cold shoulder from Sansa and the other Northerners.

There is extra tragedy layered into this moment given that Dany so quickly warmed to Sam when, just moments later, she had to tell him that she had executed his father and brother. She came very close to having an important friend and ally in Winterfell, but that was taken from her, too.


The comedic beat that happened when Jon and Bran reunite wasn’t planned out in the script.

Other details in the scripts show how some of the stars on “Game of Thrones” interpreted stage directions slightly differently, changing the original intention of scenes.

When Jon finally Bran again, he remarked on how Bran was a “man” now. Then Bran replied, in his odd way, with a simple “almost.”

The script says that “Jon is too happy to be reunited with his little brother to clock the oddness of the statement.”

But in practice this moment played much more comically when actor Kit Harington’s face dropped slightly in reaction to the statement. He definitely “clocks the oddness” in the final version of the episode.


Dave Hill, the credited writer for “Winterfell,” had a cameo has one of the guards killed by Theon as he saves Yara.

There were many notable cameos throughout the final season of “Game of Thrones,” including actors Rob McElhenney (“It’s Always Sunny in Philadelphia”) and Martin Starr (“Silicon Valley”) who played other guards killed in this very same scene.

Hill’s cameo was specifically scripted for this episode, though, setting it apart from some of the other famous faces seen on “Game of Thrones.”


Theon and Yara also originally had a heart-to-heart about how he abandoned her on season seven.

After escaping from Euron’s ship, the finished episode jumps to Theon and Yara discussing their strategy against their uncle. But in the script, Theon starts the scene by gingerly touching a bruise on his face left from Yara’s headbutt.

“Don’t be a girl,” Yara says in the script.

“It’s hard for Theon to talk about the night be betrayed his sister and jumped overboard, but he finally brings himself to say the words,” the script’s stage direction reads.

Then Theon calls himself a coward, and Yara tells him he wasn’t a coward the night before when he saved her. He tries to press the point of how he wasn’t there when she needed him, but Yara says there’s no point talking about it. Then they move onto the dialogue we hear in the final version.

This was the last time Theon and Yara spoke before his death, so it would have been a more explicit closure for them (instead of the implicit closure they had when he rescued her).


The writers also give nods to the behind-the-scenes production team leaders like Michele Clapton.

Throughout their scripts, the writers often penned stage directions or descriptions of scenes and actors with nods to the people bringing those scenes to life. On the first episode of the season, the script introduces Cersei in a scene for the first time and gives a shout out to the lead costume designer Michele Claptoon.

“[Cersei] wears black, but not the glittering triumphant black of [season seven],” the script says. “This outfit is brooding and somber, a Michele Clapton masterpiece.”


There’s also a funny aside about Emilia Clarke needing to act opposite the “green foam head” stand-in for Drogon.

Again on the first episode of the season, Daenerys and Jon Snow go to visit her two remaining dragons.

“She and Drogon share a connection that is deep and intimate but non-verbal,” the script says. “Emilia Clarke conveys this depth and intimacy while interacting with a green foam head.”


Dany’s feelings of isolation were exacerbated on the second episode of the season, and it shows the most when Theon arrives to Winterfell.

As we explored back when the episode aired, “A Knight of the Seven Kingdoms” did a lot of work to show just how alone Daenerys was in the North. The script makes this isolation and unease apparent when Theon says he wants to fight for Winterfell and then he and Sansa embrace.

“Yet another of her subjects whose loyalties seem to lie with House Stark over her,” the script says as Dany watches the hug.


After Jaime knights Brienne, the script says she’s “in love with” him.

In the script, Brienne’s knighting scene is imbued with a lot of varying emotions from the characters in the room. After Brienne tries to tell Tormund she doesn’t even want to be a knight, writer Bryan Cogman’s script notes that “Pod looks askance at her, because he knows this is patently untrue.”

Then Cogman indicates that Jaime sees this look exchanged between Brienne and Pod.

“He looks at Brienne. Tormund’s right. F— tradition,” the script says.

That’s when Jaime’s dialogue kicks in, and he convinces Brienne to come and kneel before him so he can knight her. Afterwards, the script’s stage directions say Brienne “sits down and looks at Jaime.”

“Dammit. She’s in love with him,” the script reads.

On the actual episode, the scene ends with Brienne still standing and smiling as the room of men applaud her. But the love she and Jaime feel for one another in the moment is palpable nonetheless.


During the mini Night’s Watch reunion on the battlements, the scene originally included a little moment of remembrance for how much Rast sucked.

Just before the battle, Sam reminisces about where he, Jon, and Edd all started. Then he mentions their fallen brothers in black – Grenn and Pyp.

In the script, Jon replies and mentions Rast – one of the Night’s Watch men who tormented Sam and mutinied against Lord Commander Mormont. He was eventually killed by Ghost at Craster’s Keep.

“F— Rast,” Sam would have replied.

The final version of the episode just skips over Rast altogether, instead leaving the moment as a small tribute to Grenn and Pyp (who died during the Battle of Castle Black at the end of season four).


There was a small line from Beric cut for the final episode, perhaps because of its implications for Jon Snow.

The night before the battle, on “A Knight of the Seven Kingdoms,” Sandor Clegane and Beric sat together on the walls of Winterfell. There’s a small scene in the script that never made it into the final episode.

When the Hound tells Beric to get some sleep, the Lightning Lord replies: “Haven’t slept since the first time I died. No point starting now.”

Both Jon Snow and Beric were resurrected using magic from the Lord of Light. If Beric says he hasn’t slept since he first died and was brought back to life, this would likely be true of Jon Snow, too.

Our best guess for this line getting axed by the final episode is that it raises too many logistical questions about the rest of Jon’s life.


During the “Jenny of Oldstones” montage, Bran was going to get his own little moment.

Towards the end of “A Knight of the Seven Kingdoms,” Podrick Payne sings a song called “Jenny of Oldstones” and the episode cuts to a montage of all the various characters on the eve of battle.

The episode created the montage almost exactly as it was written out in the script, but with one omission: Bran Stark, the future King of Westeros.

The scripts originally said we’d see “Bran sitting in his chambers” during the montage “awake” and “alone.”

While a very small thing to drop, this would have been an opportunity to highlight Bran as an important character during this tumultuous time in the kingdom, especially given that the series ends with him as the primary ruler of the country.


The script shows cut moments which would have explained what Bran was doing during “The Long Night.”

A commonly asked question after “The Long Night” was, “What exactly was Bran doing?”

After Bran’s eyes go white when he skinchanges in the godswood, the script says we were going to see “a massive flock of ravens, bigger than last time [episode 705], converge on Winterfell from all sides, all piloted by Bran.”

Then, from the ravens’ point-of-view, Bran would have seen Jon Snow on Rhaegal nearby, and also Daenerys off in the distance on Drogon.

Bran was effectively helping scout the location of all the troops during the battle. Or at least that’s what the script makes it seem like he’s doing.

Instead, the show’s version goes from Bran skingchanging to the ravens flying by the Night King, and then never returned to other vantage points to indicate how Bran was tracking the ongoing battle in Winterfell.


Several miscellaneous characters have names in the scripts, even if we never hear them on the episode.

The young girl with burn marks on her face (who reminded Ser Davos and Gilly of little Shireen Baratheon) is named “Teela.”

One of the wights who attacks and injures Arya during the Battle of Winterfell is called “Bertram” in the script.

And the massive giant who kills Lyanna Mormont is called “Crum.”

There’s also a man named “Fergus” in the script. He’s the one who gets soup from Ser Davos on “A Knight of the Seven Kingdoms,” lamenting about not being a soldier. In the script for “The Long Night,” Fergus is mentioned a couple more times as we were supposed to see him next to Davos when the battle began, and then later on fighting.


The script had clear directions for the camera to not focus on Arya’s Valyrian steel dagger when we first see her on “The Long Night.”

Arya’s slaying of the Night King was something Benioff and Weiss wanted audiences to be very surprised by.

Keeping this in mind, they noted in the script for “The Long Night” that she should be wearing the Valyrian blade at her waist before the battle begins, but director Miguel Sapochnik was meant to keep things subtle.

“The valyrian steel dagger is in Arya’s belt, but we do not call special attention to it,” the script says.


Jaime felt “like a traitor” after he slept with Brienne for the first time.

On the fourth episode of the season, “The Last of the Starks,” Jaime and Brienne have sex for the first time.

There’s a wordless shot of Brienne sleeping soundly in their shared bed, while Jaime lays awake.

Here’s what the description in the script says of this scene: “Brienne sleeps the sleep of the happily drunk and devirginized. Jaime can’t sleep, however. He just helped save the world. So why does he feel like a traitor?”

By the end of the episode, Jaime leaves Brienne to return south and be with Cersei in her final moments – a narrative choice which left many fans with whiplash over losing the almost-happy couple just as they got together.


In a removed scene, Tyrion and Jon explicitly talked about how Dany might not let people surrender in King’s Landing.

On the fifth episode of the season, “The Bells,” Tyrion and Jon talk briefly before the battle for King’s Landing starts. The final version of the episode only shows Tyrion reminding Jon that the bells mean surrender. But the script’s longer version of this scene has them discuss the innocent people in the city.

“A million people live in that city,” Tyrion says to Jon.

“I know,” he replies.

“If you hear the bells ring, they’ve surrendered, ” Tyrion says. “Call off your men.”

“I don’t think she’s letting anyone surrender today,” Jon says.

“We have to try,” Tyrion replies. “How many children are in there? She’s not her father.”

Then the script indicates that “Jon nods, unconvinced.” The aired version of this scene is shortened down to just Tyrion’s line about the bells, and then a cut to Jon’s barely noticeable nod.


The script also reveals what Dany was thinking just before she decided to burn down King’s Landing.

This scene had no dialogue in both the script or the final episode. Instead, actress Emilia Clarke was given stage directions for Dany’s mindset.

The script says Dany looks down and see Lannister red mixed in among the people of the city, and knows she has won.

“But she sees the Red Keep,” the script continues. “The castle that her family built, that belongs to her. Occupied by the False Queen. She has come so far and she will go further. Oh, blood will out. It cannot be contained. Drogon takes to the sky.”

The “blood will out” line is a quote from a Robert Frost poem titled “The Flood.”


“The Bells” was originally going to end with Jaime and Cersei’s death, not the scene with Arya and a horse.

Arya finding the horse was originally meant to be her “escape” from King’s Landing, not a slow and poetic end to the episode. Instead, the script shows the episode ending with the ceiling collapsing on Jaime and Cersei.

The slow-motion scene between Arya and the horse sparked a lot of discussion about the animal’s significance and potential symbolism. But it turns out it was only ever supposed to be a way Arya could quickly leave the city.

The episode’s director, Miguel Sapochnik, was likely the one who thought ending on Arya’s emotional survival was the better final note.


In the script for both “The Bells” and “The Iron Throne,” Benioff and Weiss use several real-world wars and tragedies as comparisons for the battle in King’s Landing.

When the smallfolk are trying to get into the walled city for shelter on “The Bells,” the script says “they shout like the throngs outside of the US Embassy during the Fall of Saigon.”

Later, when Arya is stumbling through the streets and trying to avoid Drogon’s fire or falling buildings, the wrote that “it’s like being on the ground during the bombing of Dresden.”

On the series finale, Tyrion walks through the city and the script says the scene should remind audiences of a 2015 movie about the Holocaust.

“We follow him, ‘Son of Saul’ style, tight on his face as he passes through the gates, “

Tyrion is also described in the script as passing by “human silhouettes on the dragon-scorched ground where ashes have blown away, the negative image of Hiroshima silhouettes.“


The script also adds explanation about Jaime and Cersei’s deaths that is missing from the episode.

On “The Bells,” Jaime and Cersei find themselves trapped in the lower dungeons beneath the Red Keep. The ceiling caves in, leading to their deaths. But when Tyrion found their bodies on “The Iron Throne” episode, there were clear patches of ground nearby.

This led some watchers to believe, based on this background detail, that all Jaime and Cersei had to do to survive was just stand in a different part of the room.

In the original script for “The Bells” and “The Iron Throne,” it says the room was overrun with flames in addition to the crumbling ceiling.

“All of the skulls have been blackened and scorched by the extreme heat of the fires that raged for hours,” the script says when Tyrion finds their bodies.

This little detail would have closed up the loophole of Jaime and Cersei’s survival for some fans had it been left in the show.


The script evokes a statue of the Virgin Mary and Christ for Dany’s death scene.

After Jon kills Daenerys in the throne room, the script says she “lies dead, Pieta-style, as the snow drifts down.”

The Pieta is a famous sculpture made by Michelangelo around 1500.

The statue shows the Virgin Mary holding the body of Christ after his crucifixion. The choice of motif is an interesting one, since it places Daenerys in the role of Christ following her death. But earlier in the script, when Daenerys is addressing her soldiers, Benioff and Weiss refer to her as “Satanic Majesty.”

The contradicting analogies are not explained further in the script.


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