two years ago the finale of Game of Thrones, ‘The Iron Throne’, was released. Below, a transcription of Yezenirl’s video ‘The Power of Stories: How Bran the Broken was Always the Ending’ which can be seen on YouTube:

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‘Now is the winter of our discontent, made glorious summer by this son of York’. —Richard III

Tyrion: ‘All hail Bran the Broken, First of his Name, King of the Andals and the First Men, Lord of the Six Kingdoms, Protector of the Realm’ [Editor’s note: in Yezen’s video these italicised words are brief audiovisual clips of different scenes; the sentences between the brackets are mine].

I do get it. David Benioff and D.B. Weiss aren’t great writers. The ending was rushed, Season Eight was sloppy, and frankly I thought Season Six and Seven felt like fan-fiction. So it should come as no surprise that there’s a lot of complaints and confusion about the ending.

Still, Tyrion was right about one thing: stories are powerful. There’s nothing like a good story. And now, it seems there’s nothing like a bad one either. Yet, somehow Game of Thrones managed to be both. For years now it shocked us, captivated us, angered us and brought us together. And for all the flaws of the final season, this is the story we got. Books aside, all we can do now is to decide what to make of what the show gave us.

I know for many that means dissecting where the writers went wrong, and I’ll eventually get to that, but as for right now, I’m not interested in just joining the chorus of fanboy rage. Instead, as a guy who did call King Bran [Yezen was the only one who correctly predicted who would become king in the finale], let me try to explain why this was always the direction the story was headed, and try to make sense of just what the ending meant, as broken as it may have been.

Bran was always meant to climb to the top. And it’s pretty clear upon re-reading the first book that this was always the plan. Personally, I figured this several years ago, when George R.R. Martin’s editor Anne Groell revealed that Bran’s end point was the only one she knew.

Obviously, certain things will differ in the books. I expect how he’s chosen will be a little bit different, as well as how he acts, and book-Bran will probably rule from Harrenhal, not King’s Landing. But the question most people have is, what does this mean? Why write this tale of handsome princes and beautiful conquerors only to end with a crippled King?

One reason why King Bran is so controversial is that he’s probably the most poorly understood major character in the story. Bran’s character arc, at its core, is pretty straightforward: he’s a reference to Bran the Blessed, Frodo Baggins, and Rainbow Crow. It’s the tale of a boy who was deemed so broken by a society that he’s even mocked for not killing himself. So, believing the world will never have a place for him, he struggles to see value in his own life, eventually going beyond the Wall in search of purpose, merging with a godhood [the old religion] and fighting against the apocalypse [the white walkers]. Much like the audience, the Seven Kingdoms doesn’t really understand what Bran has become, or how he helped save the world.

Yet, when Bran returns, the Kingdom was broken just like him. And all of the things that once made him useless to the militaristic culture of Westeros, now make him the ideal Fisher King: an incorruptible figurehead to help usher in a new system. And thus, Bran the Broken is immortalised as a story around which the Kingdoms of Westeros can unite. The bittersweet irony is that when Bran is finally celebrated, he’s too consumed by godhood to feel his own triumph.

Bran: ‘You shouldn’t envy me. Mostly, I live it in the past’.

Bran’s emotional distance from the audience is very much the point. And so is the abruptness of his coronation. Bran’s arc doesn’t move towards Kingship; it’s the arc of the Seven Kingdoms that moves toward Bran the Broken. Essentially, the message here is one of humility—a reminder that each of us is bound by blessed and cursed fates. A once ridiculed woman (Brienne) can become the truest of knights [transcriber’s note: this is bullshit feminism], a despised imp (Tyrion) can be a brave hero, an exiled girl (Dany) can become a great liberator—and a great liberator (also Dany) can become an unstoppable tyrant. The capacity of outcasts to rise and fall means that we must learn to see value in everyone, including the cripples, bastards and broken things.

Of course, the big question about King Bran is whether he planned it all out. Was Bran a puppet master, or was he a puppet who could see the strings? Did the Three-Eyed Raven manipulate events to put itself into power?

Bran: ‘Why do you think I came all this way?’

Well, maybe?

The former Three-Eyed Raven [Ser Brynden Rivers in Martin’s novels, called Lord Bloodraven] seemed to know that Bran would eventually be Lord of the Seven Kingdoms, and hinted at it back in Season Six:

‘You won’t be here forever. You won’t be an old man in a tree’.

But in Season Seven, Bran seemingly doesn’t see it, and often admits to not knowing things.

Bran: ‘I can never be Lord of Winterfell. I can never be Lord of anything’ [words to Sansa in Season 7].

Bran: ‘I don’t know. No one’s ever tried’ [words of season 8, episode 2].

Bran: ‘His last name isn’t really Snow. It’s Sand’ [words to Sam in season 7, episode 7].

Bran: ‘I need to learn to see better’ [words to Sansa under Winterfell’s weirwood tree].

So, it’s likely that if the Three-Eyed Raven did set things up, then for Bran it’s something like a half-remembered dream. That said, in Jon’s final dialogue, we do get one last hint that the Three-Eyed Raven was in fact the Lord of Light.

Jon: ‘I’m sorry I wasn’t there when you needed me’.

Bran: ‘You were exactly where you were supposed to be’.

This interaction references several conversations about characters serving the Lord’s purpose. And thus seems to imply that the Lord of Light’s plan was also the Three-Eyed Raven’s plan. So, Jon was in fact there for Bran all along, as a soldier in the Three-Eyed Raven’s war, which provides the closest thing we can get to an answer over that burning question: Did Bran do anything, or did Bran do everything? [Transcriber & editor’s notes: Here follows a few words we won’t quote that Yezen apparently picked up from an episode in Futurama where God speaks to the main character.]

By leaving Bran’s actions ambiguous, the story actually upholds the choices made by the characters. After Hodor, Bran seemingly learns to never again violate another human being’s autonomy. So, regardless of whether the characters were playing the Raven’s game, or whether this universe is just random, each of them had free will and made their own choices.

The big misconception here is the idea that the problem of ruling has been resolved by a god, when in actuality Bran doesn’t solve the problem of ruling. He’s mostly a figurehead who subtly empowers people to fix the world themselves. The problem of ruling is left to Tyrion and his council of former outcasts.

Which brings me to the third element that needs to be discussed, which is the small thing Bran does bring to the table. In my prediction video [see our transcript: here] I talked about Bran’s wisdom as capacity for understanding. But the ending, rushed as it was, suddenly brought up another thing which I really hoped it would. And that is the nature of justice. Throughout the episode, there’s the dilemma presented about what justice really means. Can we forgive those who have done us wrong? Is the world we need one of mercy?

If you recall, Game of Thrones begins with Bran going to see his first execution: a man has deserted the Night’s Watch. As is the law, Lord Eddard Stark hears his last words and executes him. Afterwards, Ned prompts Bran that one day this justice will fall to him. And in the end, it does. But where the story opens on an act of retributive justice—a form of justice framed around punishment—Bran’s first act as King is to shift his Kingdom towards a justice that is more restorative, as in, justice which focuses on rehabilitating the offender and reconciling with the community.

Grey Worm: ‘This man is a criminal. He deserves justice’.

Bran: ‘He just got it. He’s made many terrible mistakes. He’s going to spend the rest of his life fixing them’.

Justice for Tyrion is to fix the problems he’s brought upon Westeros, by becoming Hand of the King. Justice for Jon is to return to the place he functioned best and act as King-beyond-the-Wall. Once again, Bran puts Jon exactly where he’s supposed to be. And while the show explore these ideas so sloppily that it’s hard to register, there’s really nothing we can do about that. The time where internet rage [the fans hated this season as Yezen explains: here] could have shifted the direction of the show’s writing is long gone. And I understand why that’s a frustrating reality for so many: especially those who’ve invested a ton of time and thought into this story. But all we can do now is try to make the most of the ending we got. Maybe I’m a little number to this because I’ve not been a fan of the writing for the past three seasons. For me, I’ve mainly looked at the show as a spoiler-filled preview of books that may never come.

Sam: ‘A Song of Ice and Fire’.

And you know, from that perspective, there’s a lot to be hopeful for about the ending. King Bran feels so true for Martin’s philosophy that I can no longer see how the ending could have been anything else. So although the Kingdoms of Westeros have been broken by war, it seems they may have learned a little something along the way. And you know? Hopefully we did too.

Jon: ‘It doesn’t feel right’.

Tyrion: ‘Ask me again in ten years’.

Anyways I got more content coming… In the meantime I’m also kind of sad that the ending turned out being so unpopular. And I hope this helped. Peace out. Thanks for watching.

Published in: on May 19, 2021 at 12:01 am  Comments (2)  

The Iron Throne

‘The Iron Throne’ is the series finale of the fantasy drama television series Game of Thrones. Written and directed by D&D, it aired on HBO on May 19, 2019. The wisest words of all the Game of Thrones seasons were uttered by Tyrion in this finale: words that fans have yet to understand:

What unites people? Armies? Gold? Flags?


There’s nothing in the world more powerful than a good story. Nothing can stop it. No enemy can defeat it.

Although D&D were advised by the author about the finale, George R.R. Martin wasn’t the first to notice this. Ivan Illich (1926-2002), a critic of the school system, had said: ‘Neither revolution nor reformation can ultimately change a society, rather you must tell a new powerful tale, one so persuasive that it sweeps away the old myths and becomes the preferred story, one so inclusive that it gathers all the bits of our past and our present into a coherent whole, one that even shines some light into the future so that we can take the next step… If you want to change a society, then you have to tell an alternative story’.

Alas, the current story that whites are telling themselves is astronomically toxic for their mental health. In fact, the System has lied to us over the decades about what happened in the Second World War. The great lie of our times can be summed up in these words by Irmin Vinson about WW2:

In almost any war one side can be dishonestly demonised even by a truthful enumeration of its crimes, if the crimes of its adversaries are suppressed.

Thomas Goodrich’s Hellstorm opened my eyes by collecting testimonies from the 1940s about the genocide committed on the German people during and after the war. This is the story we must be telling ourselves: the events dating from 1944 to 1947 in what was left of Germany, and up to 1956 in the Soviet Union’s death and forced labour camps where countless Germans had been deported. Of the story of the genocide of millions of defenceless Germans we don’t see any museum, memorial, film or documentary in the media, newspaper articles or magazines. Nor is it talked about in history departments or even routinely in the major racialist forums. Why?

Because what we call a nation’s history is actually a struggle over who controls the social narrative, the official ‘story’. Such control unleashes great intellectual passions: it is practically an act of war.

In this light we might dare to say that, although there has been no more fighting since 1945, the war against the Aryan continues insofar as the story of the fallen continues to be suppressed today, and suppressed overwhelmingly. In the case of Germany there is no such thing as ‘the vision of the vanquished’.

We live in a totalitarian West where the most relevant stories about the Second World War have not reached the masses, not even at the cafes where we hang out with our friends to speak out privately. Those who win the war write history, and it shouldn’t surprise us that only and exclusively the crimes attributed to the losing side have been aired from the rooftops 24/7. On the other hand, the masses know nothing about the crimes committed by the winners. Only those who know the harshest literature of the last decades intuit what really happened.

The Gulag Archipelago was published when I was a teenager. One reviewer wrote: ‘To live now and not to know this work is to be a kind of historical fool’. We could say the same of those who ignore books like Hellstorm, published in 2010 and other books like it. Currently the story of the Jewish holocaust is taught on a religious level in the West. But the planned murder of millions of defenceless German men, women, and children has been kept from us despite that

What the Allies did in peacetime (after May 1945 to 1947) was incomparably more monstrous than the crimes attributed to the Germans in wartime—precisely because it was done in peacetime.

* * *

Before the apocryphal story about WW2, the Bible was the story that whites had been telling themselves. But if the story that the Old Testament preaches to the Jews is ethnocentrism as their evolutionary survival strategy, and the story that the New Testament preaches to the gentiles is guilt and universalist love, it shouldn’t surprise us if both stories culminate today as a self-fulfilling prophecy: the apocalypse for whites.

But there’s a last-minute solution. Start telling yourselves a new story that replaces the old one through William Pierce’s history of the West and Evropa Soberana’s essay on Judea vs. Rome.

Umwertung aller Werte!

The Bells

‘The Bells’ is the fifth and penultimate episode of the eighth season of HBO’s fantasy television series Game of Thrones, and the 72nd overall. It was written by D&D and aired on May 12, 2019. ‘The Bells’ features the final battle for control of the Iron Throne, with Dany’s forces commencing their assault on Cersei’s forces at King’s Landing.

Quite apart from D&D’s big mistake of compacting the plots that were left unfinished in a couple of episodes, fans also erred big by misjudging the last two episodes of the show. Although it would’ve required more seasons for proper execution, it makes sense for Dany to burn King’s Landing in this penultimate episode. See Yezenirl’s video ‘Foreshadowing is not Character Development: The Rationalization of Tyranny’.

Instead of commenting on the bad messages from ‘The Bells’, I prefer to talk about one of the bad messages from the next episode, the finale.

Even at the show’s most interesting moment, Tyrion’s speech, the writers managed to insert a feminist message: Sansa’s little sermon that left her as Queen of the North! As Yezenirl observed in an interview, that is cheating on the profound message of that moment.

Incidentally, on the 19th of this month I’ll post a transcript of Yezenirl’s video on why Bran’s coronation was precisely where Martin’s story was headed.

Published in: on May 6, 2021 at 1:01 am  Comments (1)  

The last of the Starks

‘The Last of the Starks’ is the fourth episode of the eighth season of HBO’s fantasy television series Game of Thrones, and the 71st overall.

As I said in the previous instalment of this series, ‘The Long Night’ is so exciting that the anticlimax is unwatchable. If I had directed the show, in addition to removing feminism from it; the soft-porn scenes, Arya’s psycho traits, and putting Theon as the late hero instead of an heroine, I would’ve ended the series by filming, in this episode, Bran’s coronation after Jon led a mass cremation funeral for the dead (the latter we do see in the HBO series).

In that way the series wouldn’t have ended in the eighth season but in the seventh, in 2017: this eleventh episode being the anticlimax (something common in masterpieces of literature).

If you look at the popularity statistics for Game of Thrones, after Arya killed the monarch of the white walkers and the wights, the Night King, the fan acceptance plummeted. On the one hand I am pleased, although anti-feminism wasn’t the cause of the repudiation of this season but the blunder of squeezing all the complex plots pending in a couple of episodes.

The feminist messages that continue in this episode are not worth describing further, except that while watching ‘The Last of the Starks’ tonight I counted two of them.

Published in: on May 5, 2021 at 1:22 am  Comments Off on The last of the Starks  

The long night

‘The Long Night’ is the third episode of the eighth season of HBO’s fantasy television series Game of Thrones, and the 70th overall. Below, the most beautiful moment of the episode according to Yezen (including the music I’d add) in his video ‘Why Theon should have killed the Night King’.

I have said that Martin didn’t finish the last two novels of his epic when D&D were filming the series. If I had been the director, instead of what the D&D Jews did—trying to compact what Martin had confessed to them in a few episodes—I would have devised the script differently so as not to spoil the plot, as D&D spoiled it. I simply would have forgotten about the game of thrones, or the war between the two bitches, and focused solely on the threat that the army of the dead posed to Westeros once the Night King’s dragon brought down the Wall.

From that angle, the long night in the sense of the long battle that was fought at Winterfell would have appeared at the end of the last season. And instead of the ultra-feminist scene that D&D came up with—the girl Arya kills the Night King in this episode—I would have chosen Theon to be ‘The Hero of Winterfell’. That way we wouldn’t have seen packed together, in just six episodes, a complex plot—or rather plots—that should have been filmed over several seasons.

It’s no excuse that the directors have run out of Martin’s latest novels. If they had been good artists they would have simplified the plot, guillotining any war between Dany and Cersei from the script—that is, the ‘game of thrones’—so that the show would look more like ‘a song of ice and fire’. The Night King, the white walkers and the army of the dead live on ice on the north side of the Wall; and fire is represented by the character most loved by fans, Jon, who lives on the south side of the Wall. As we saw, in previous episodes it’s revealed that Jon is Aegon Targaryen, and in Martin’s universe the Targaryens represent fire.

Without Martin’s latest novels, that would have been the compromise a good screenwriter would have made.

In many respects, ‘The Long Night’ is the culmination of the entire series. The following episodes, # 71, # 72 and # 73 represent a huge anticlimax that disappointed the fandom. And while the battle against the army of the dead in this episode is the most exciting of all seasons, I suspect that the feminist agenda finally stretched the show’s credibility to breaking point (as we said above Theon, not a girl, should have killed the Night King).

Published in: on May 4, 2021 at 12:01 am  Comments (4)  

A knight of the seven kingdoms

‘A Knight of the Seven Kingdoms’ is the second episode of the eighth season of HBO’s fantasy television series Game of Thrones, and the 69th overall. The first feminist message of the episode is seen in the Winterfell smithy, during the dialogue between Gendry and Arya. I don’t even want to detail it because, later, what happens between them is worse. As always, the woman is on top of the man in the sexual act, and in this case Arya was losing her virginity! By getting on top of him, she plays the role of the macho.

Later, speaking alone with Sansa, Dany tells her: ‘We have other things in common. We’ve both known what it means to lead people who aren’t inclined to accept a woman’s rule. And we’ve both done a damn good job of it, from what I can tell’.

But that’s nothing. The most offensive scene of the episode comes later, when Davos gives hot food to every commoner in Winterfell, outside the castle walls, in the winter. An adult male gets the soup with these words: ‘My lord, we’re no soldiers’. The men from the north are preparing to fight the Night King’s army, which has already crossed the Wall and is heading to Winterfell. Davos replies: ‘You are now’ and the man is stunned. Davos has to reassure him with personal anecdotes, as Davos isn’t a warrior either (although he has participated in important battles).

The next person who reaches out to Davos with an empty plate to receive the soup is a little girl, about ten years old, and she says to Davos with the accent of a little English girl: ‘All the children will be going below [of the castle] when the time comes. But… I want to fight’. There can be no clearer message.

Above, Podrick, Brienne’s squire, right before Jaime knighted Brienne, a woman, for the first time in Westeros history. That naming gave the episode its title, ‘A Knight of the Seven Kingdoms’.

In the next scene, Jorah Mormont asks his cousin Lyanna Mormont—the girl who, as we have seen, has admonished Jon several times in front of the lords—to stay in the crypt under the castle during the battle, along with the women and children. Lady Mormont replies that she will fight alongside her soldiers (in the next episode we will see that she dies heroically when the Night King’s army of the dead infiltrates the castle).

Perhaps what was most worth hearing from the episode was the song Podrick sings on the eve of the enemy army arriving at Winterfell, which can be heard: here. Many of those in the castle will die in a few hours. The song conveys a state of unusual relaxation before facing destiny.

Published in: on May 3, 2021 at 11:38 am  Comments Off on A knight of the seven kingdoms  


‘Winterfell’ is the eighth season premiere episode of HBO’s fantasy television series Game of Thrones, and the 68th overall. It aired in 2019 and the previous season in 2017. What happened in 2018?

I have said several times that the slogan of contemporary cinema seems to be ‘everything for the eye, nothing for the mind’. Well, the show’s technicians spent all of 2018 doing the complicated CGI effects on the dragons for the final season. It was such a laborious task that they skipped an entire year leaving the eager audience in a long two-year wait!

Unsurprisingly, this ‘all for the eye, nothing for the mind’ practice, and in just six episodes for what should have been six more seasons, ruined the series from the point of view of a plausible narrative. However, from our point of view the series was already ruined from the first episode of the first season due to its bad messages.

If there is something ‘for the mind’ that the show left us, it is its feminist trickery. True, from a cinematic point of view, the opening scene of the eighth season is superb: from when we see a boy running in the first seconds until Jon kisses Bran on the forehead (Jon had not seen Bran since he left him comatose and his life hanging by a thread in the first season). George Lucas visited the set where the opening scene was filmed, in which Dany and Jon arrive at Winterfell with an impressive army.

But already in the great hall of Winterfell with the gathered lords we see the first ultra-feminist scene when the Mormont girl, who still doesn’t menstruate because of how young she is, reprimands Jon in front of everyone. At the time of the reprimand Jon is sitting in the hall flanked by two other women: Sansa and Dany. With these TV messages, should we be surprised that adolescent girls have become so insolent?

As is typical of the show, we then see Bronn sexually ridden by a woman (a prostitute), flanked by two other naked women. Politically correct directors seem to be reluctant to film a man riding a woman: their mission is to reverse reality even in bed.

Then we see a third feminist scene when Theon rescues Yara from Euron’s ship and, instead of thanking him Yara headbutts her brother (was it because he didn’t help her at the exact moment when Euron kidnapped her)? Already setting sail, Theon tells Yara that she is his queen, and that he will do what she orders, before a goodbye hug.

This is what fans waited patiently, for two years, to finally see…

Published in: on May 2, 2021 at 11:43 am  Comments Off on Winterfell  

The dragon and the wolf

‘The Dragon and the Wolf’ is the seventh and final episode of the seventh season of HBO’s fantasy television series Game of Thrones, and the 67th episode overall. It was written by series co-creators David Benioff and D. B. Weiss (hereafter referred to as D&D), and directed by Jeremy Podeswa. In this episode the two bitches meet for the first time and agree to a truce while the Night King is defeated. Note that when the series began, King Robert Baratheon ruled the Seven Kingdoms that these two queens now dispute, although the threat north of the Wall has become a distraction that will be resolved in the following season.

We see the climactic scene of this episode when Littlefinger is executed: the man who, with his lies, had started the war between the Starks and the Lannisters although before his trial we see a memorable dialogue between Theon and Jon in the main hall of Dragonstone.

D&D and/or the director deleted a crucial scene showing that the real hero in uncovering Littlefinger’s wiles had been Brandon Stark, as can be seen from what a fan wrote:

Bran Stark actor Isaac Hempstead Wright revealed in a past interview with Variety that he and his Game of Thrones co-star Sophie Turner, who plays Sansa, shot a sequence in which Sansa consults him ahead of Littlefinger’s trial. You see, Sansa was first convinced that her own sister, Arya, was out to murder her in attempts to become the Lady of Winterfell. Arya felt certain of the same—and it was all thanks to the master manipulator Littlefinger. Viewers were sweating buckets watching the season 7 finale, believing that one of the Stark girls would turn on the other and commit fratricide within the halls of their House’s ancestral seat. Sansa and Arya flipping the script and sentencing Littlefinger to death was a massive twist—and seemed to leave a wide plot hole that went completely unpatched. The deleted scene Hempstead Wright discussed with Variety would have stitched up the gap and detailed exactly how the Stark sisters knew what Littlefinger was up to and how they arrived at their plan to execute the former Master of Coin.

In the scene, Sansa consults Bran about what to do regarding the whole ‘I think our sister is going to kill me’ dilemma. Using his newfound abilities as the Three-Eyed Raven, Bran peers into Littlefinger’s past and unearths every underhanded thing he’s done to secure power.

As Hempstead Wright describes it, ‘We actually did a scene that clearly got cut, a short scene with Sansa where she knocks on Bran’s door and says, ‘I need your help’, or something along those lines. So basically, as far as I know, the story was that it suddenly occurred to Sansa that she had a huge CCTV department at her discretion and it might be a good idea to check with him first before she guts her own sister. So she goes to Bran, and Bran tells her everything she needs to know, and she’s like, Oh, s***.

Though audiences can fill in the blanks without this scene, it makes Bran’s powers all the more real, and, frankly, terrifying. Nothing can be kept from him, and as a result, nothing can be kept from his family. There is no secret Bran cannot uncover—and the biggest skeleton he drew out of the proverbial closet was the truth behind Jon Snow’s birth. Bran knew of his brother-cousin Jon’s true parentage and real identity as Aegon Targaryen, the son of Rhaegar Targaryen and Lyanna Stark, and his rightful claim to the Iron Throne over the wannabe queen Daenerys Targaryen before others did. His knowledge spread to Samwell Tarly, then to Jon himself, and (spoiler alert) quickly made its way to Sansa and Arya themselves.

Not all the audience filled the gap. Censoring that scene made some believe, at Littlefinger’s trial, that Sansa had understood for herself the betrayal of the master of intrigues. The confusion was such that some fans commented that Sansa would never have been able to outwit Littlefinger. Sometimes I wonder if D&D abandoned the already filmed scene because of their feminist agenda.

Published in: on May 1, 2021 at 12:38 pm  Comments Off on The dragon and the wolf  

Beyond the Wall

‘Beyond the Wall’ is the sixth and penultimate episode of the seventh season of HBO’s fantasy television series Game of Thrones, and the 66th overall. Here we see Beric talking to Jon on the other side of the Wall.

From this episode until the grand finale we began to see problems of another kind. Since George R.R. Martin didn’t finish the last two novels of his epic when they were filming the last two seasons, the producers rushed the story to levels that spoiled the rhythm of the series.

Many fans of the novels are furious with Martin because even today he has not finished the last two novels of A Song of Ice and Fire. I feel a little more empathy for the writer. Writing is a thankless task that is done in solitude, in the writer’s home. Most writers can’t even make a living from their craft. When the miracle happens, as it happened to Martin when HBO decided to bring his most ambitious work to the small screen, it is natural that with the river of money flowing towards the writer he changes his lifestyle, doing the writing in the bedroom more difficult, especially due to Martin’s advanced age.

But the mistake of this episode and others of the following season is that Martin was right in asking the creators of the HBO series David Benioff and D. B. Weiss that the series should run for about fourteen seasons. That would mean that filming would be roughly halfway through by now. If we assume one season per year, the eighth season should have been released in 2018; the ninth in 2019, the tenth in 2020 and this month that I write the fans would be watching the eleventh.

Benioff and Weiss went their own way by taking a shortcut, narrowing down the remaining seven seasons in episodes 66 to 73. And unlike previous seasons that had ten episodes each, the seventh season only has seven. The following season, the eighth and last, only six episodes. That’s far from the adequate pace, although it was only until the middle of the eighth season that fans were very disappointed by this rush.

But still, in this rushed episode 66, we see two conversations between the Stark sisters in which Arya tells Sansa that since she was a child she wanted to become a knight, though there are still no female knights in Westeros; and that she wanted to break the rules. (Worse still, the writers recast this Arya girl with psychopathic traits as we see when she talks to Sansa.) But feminism doesn’t end there. Near the end of the episode the king of the north, Jon, promises Dany that he will bend the knee before her.

Published in: on April 30, 2021 at 12:21 pm  Comments Off on Beyond the Wall  


‘Eastwatch’ is the fifth episode of the seventh season of HBO’s fantasy television series Game of Thrones, and the 65th overall. Here we see Dany saying goodbye to Jorah before he sails off on a dangerous mission on the other side of the Wall.

We see the bad message of this episode, in the sense of demoralising the Aryan male, when Jaime Lannister returns from the battle on the Roseroad, still full of mud combat. He tells Cersei that the Dothraki (who ride horses like the Mongols) would defeat any army. The reality is that if the dragon that helped the Dothraki were a metaphor for weapons of mass destruction, it would be the Aryan Lannisters who would have it, not the other side.

If in real history a Jewish sect hadn’t seized the soul of the Greco-Romans, technology and military science wouldn’t have been interrupted. A horde of Mongols would have had no chance against a Roman Empire that hadn’t declined. The West wouldn’t have been easy prey to invasions by non-whites as it was in the history we know.

If I were a film director, I would make films about this parallel world that didn’t exist: a Roman Empire without Christianity, where eventually the scientific method that the Greeks were about to discover would be discovered, and how without Christian ethics and with the technology they wouldn’t have only pulverised the Huns and Mongols, but the nascent Islam.

Published in: on April 29, 2021 at 12:31 pm  Comments Off on Eastwatch