It aired on April 28, 2019. Weiss, and directed by Miguel Sapochnik. It was written by David Benioff and D. 'The Long Night' is the third episode of the eighth season of HBO's fantasy television series Game of Thrones, and the 70th overall.
Monitor your Condition, search for life-saving supplies, and master survival skills like fire-building, maintaining your gear, hunting, fishing, and landmark-based navigation.David Sims: After eight years of buildup, with promises of zombie swarms and ice dragons, it can finally be said: The Night King is a real bore. The episode takes place entirely within the Pleasant Valley region.The Long Dark is a thoughtful, exploration-survival experience that challenges solo players to think for themselves as they explore an expansive frozen wilderness. Crossroads Elegy is the third episode in the story of The Long Dark, following Episode 2: Luminance Fugue. Because no screeners were made available to critics in advance this year, we’ll be posting our thoughts in installments.Overview.
Now I’m here to dance on the Night King’s grave.In the Dark (2019 ) Episode List. After all that, it took only one epic episode, “The Long Night,” to dash all his plans and turn him and his dramatically inert army into a pile of snowflakes. I’m glad he’s dead! Season after season of Game of Thrones has passed with the frost-faced White Walker silently promising doom for the denizens of Westeros.
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The problem, of course, was that the teeming wave of death from above the Wall couldn’t be easily batted away: It was part of the show’s very first set piece, and more often than not has been relied on for a cliffhanger at the end of a season. For the past two episodes, I have pleaded for the show to get the White Walkers out of the way so that viewers can return to the more important stuff—Westerosi politicking and grand romantic tension, the twin pillars that have held up Game of Thrones for nearly a decade. Desperate to escape one of the.
Lots and lots of darkness. There were long tracking shots that staked out the location of every character before chaos arrived at the walls of Winterfell, plenty of shaky naturalism once the violence began, and, of course, darkness. “The Long Night” was directed by Miguel Sapochnik, who also helmed “Hardhome” and “Battle of the Bastards,” and it was filled with all his favorite visual flourishes. Episode 3: Crossroads Elegy.
Melisandre even brought up a prophecy from Season 3, when she referred to Arya killing someone with brown eyes (the long-departed Lord Frey), blue eyes (the Night King), and … green eyes. Melisandre’s return to Winterfell suggested that the final outcome had been preordained, much like some of the episode’s big deaths (Beric and Theon, along with Jorah, Edd, and little Lyanna Mormont). Bran, meanwhile, did little more than warg into a flock of ravens to alert the Night King to his presence.But then, that was Bran’s apparent purpose in this Deathbowl: to sit tight and draw the Night King close so that Arya could get a clean shot at him. Her supposed rulers, Daenerys and Jon, were by and large duds throughout the conflict, zooming around the sky on their dragons, unable to see most of the action.
Spencer and Lenika, did you hope for more from the Battle of Winterfell?Spencer Kornhaber: I’m satisfied, but my eyes need a rest. Either way, I’m glad the story can make its way south again, where the sun shines and the action is a little easier to follow. Fighting an army of the dead is never easy, but Daenerys and Jon’s output was so pitiful here that I worry their alliance might not make it to the final conflict with Cersei. As the dust settles in Winterfell, major characters will mostly be happy to be alive, but they might quickly get to pointing fingers over what a disaster this battle was.
Eight seasons into Thrones, castle battles are getting boring. Though frustrating at times, the haze was an example of Benioff, Weiss, and Sapochnik’s smart aesthetic riffing. It makes some sense to swamp viewers in the same fog of war that the characters were in. A Thrones episode had become a Cocteau Twins music video, all blurred and strobe-lit.Which wasn’t totally a bad thing. The scenery already looked as dark as a Goya painting at the start of the episode, but when the (rather unexplained) ice storm blew in, I had to scurry from the couch to the floor, inches from the TV, so as to try to make out the action.
She felt like the right character to fell the Night King, because she was the one who had trained for this moment the most. Though we’ve seen her shut many an opponent’s eye previously, her hail of staff-whirls and well-timed stabs nearly justified all those mopping scenes at the House of Black and White in Season 5. But it was Arya’s slayage that offered the most payoff. After having the Unsullied’s awesomeness told more than shown in Daenerys’s interminable adventures in Essos, I felt a weird pang of pride seeing the spearmen hold the line against the dead when other regiments were routed. The visual variability helped make “The Long Night” one of Thrones’s few front-to-back riveting episodes.Moreover, each scene tended to nicely tie together long-running story elements—the ice, the fire, the strange fact that Dolorous Edd hadn’t fulfilled his destiny as an expendable till now. But this edition of slash-and-hacking skeletons was broken into distinct sensory chapters: the eerie absences of the first approach, the psychedelic blizzard that followed, the dragon riders gorgeously zipping above the clouds to a whole new world, Arya’s quiet Resident Evil level in the library, and a dramatic music video for the composer Ramin Djawadi’s second big piano piece of the series.
This is thoroughly TV for TV’s sake now, and tonight it resulted in something fun and freaky—and oddly gentle to the characters. Grey Worm’s flaming trench appeared to be a decent delayer of the dead, but why didn’t the soldiers build more than just one of them? Why weren’t there vats of burning coal on the ramparts? Why did everyone seem so surprised to see the newly dead rise mid-battle when they’d presumably been informed that was the Night King’s big trick? It was good Bran sent out ravens amid the carnage, but that also highlighted just how little scouting the Winterfell forces had done before the apocalypse was at their doorstep.Then again, Thrones gave up its claim to much realism a few seasons back. Jon and Dany getting lost when they should have been roasting wights: just baffling.
Martin for the Night King’s horde to be zapped all at once. (Just how many scenes have we previously seen of Theon redemption? Did anyone request another?) The one exception was the squishing of Lyanna Mormont in an excellently callous dispatching of a fan favorite, which is the sort of gasp trigger that was once key to Thrones’s appeal.The conclusion of the episode made for a different class of surprise: It’s more like Hollywood than like George R. The deaths that did happen—each featuring drawn-out final gasps, slo-mo, and/or weepy music—were treated as bigger deals for the viewer than they probably needed to be.
There was a lot to love, including some mesmerizing sequences from Miguel Sapochnik (who also directed the show’s best installment, “The Winds of Winter”) and a smattering of beautifully tender moments (like the ones shared between Tyrion and Sansa). We’re left with the living, and there’s something scary in that, too.Lenika Cruz: I think “The Long Night” is an episode Thrones fans will argue about forever. An age of magic is drawing to a close.
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