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The Lord Of The Rings film trilogy by Peter Jackson, the art of storytelling, and season eight of Game of Thrones

It’s not a good sign when you watch something and think, quite clearly, of something else that did it better. But that was what happened on my watch of the final season of Game of Thrones, a season that was derided by pretty much every critic I read and person I know as appalling. They were not wrong. This was a season that folded within itself, grossly rewriting characters and forgetting years of slow and rich growth. But you know this, we all know this, and my finally watching these episodes will only serve to confirm how right we all were. Stories cannot be shot in almost total-darkness, characters cannot blink their way across the country, and goodwill can be lost – so, so easily.

It was The Long Night that broke me, an episode that should have been the pinnacle of so, so much and the way that it was not. The way that none of the marquee actors died (although here’s to you hot knight), the way that other characters just went off to the coast for a while on their dragons before popping back to see what was going on, and the way that the Red Witch just became the Red Witch Of Plot Convenience. And as the episode finished, I knew one thing very clearly: I had to rewatch The Lord Of The Rings film trilogy.

And I had to rewatch one very particular part of it.