Yah, sitting at your keyboard and nitpicking a sequence of events from one episode qualifies you to run a $100m operation.
Besides, you've gone to a lot of trouble to to alleviate a logistical problem while accidentally modifying character motivations from their intended purpose. While Dany leaving before the raven arrives increases her heroine status by taking initiative, it dampens the romantic acceleration with Jon. It isn't until faced with the certainty of his death that she realizes how much she cares for him (poor Jorah). While leaving early only serves to reinforce that she is brave and strong willed (things we already know about her character) waiting till the raven arrives lets us know how petrified she is of losing Jon and how much she loves him (things we did NOT know about her character.)
I'm more interested in how their feelings for each other will affect the plot and not how these characters can reinforce who they already are. Which brings me to the real point.
The logistics complaints are bologna. Suspension of disbelief takes care of that. Every show fudges it, whether you catch it or not varies. What's more frustrating and what people really should be complaining about is the hair-brained plan to capture a live wight and have the A-team led by Jon go beyond the Wall.
That was silly and contrived and did illustrate just how far from shore the writers are without the source material.
Anybody who gets triggered by the most recent episode should have been ready for this to happen the moment that idea was pitched by Tyrion. The writing was on the wall. And having Jon fall in ice and get left behind only to be rescued again was a ham fisted way of deepening Dany's vulnerability. That could've been more deftly illustrated without a second savior type of moment.
Nobody believed Jon would go out like that so it's only interesting if what he does after he falls in the ice is interesting and it's definitely not. From a story perspective Dany just needed to believe that Jon was dead or going to die and there were many more elegant solutions for accomplishing that.
Oh, and it wasn't the "directors and show writers" who said what you quoted. It was 1 director, Alan Taylor, and he said the emotion and the character were more important than the timeline. He didn't say he "hoped the action distracted people."
If meticulous timeline plotting gets you giddy, go watch Memento. I'm here for Dragons, Zombie Mountains, Faceless Men, Zombie Snowmen, and Children of the Forest (whatever they are.) What is more important are the characters and the choices they make and how they affect one another - not the flight speed of a friggin raven.
Last edited:
