Do not touch

The last episodes of the fourth season of “Game of Thrones” once again raised the bar of serial dramaturgy to a height, unattainable even for a three -eyed raven - not to mention the owls of “Twin Pixes”. The eighth series was crowned with a fight of Mountain and Ober a Martell - a real monster and a small man against his background, who dedicated the life (and death) of revenge for the honor of the murdered sister. The ninth series turned out to be a full -fledged television film about the besieged fortress, during the fight, half a dozen heroes died, which the audience, if they did not love, were respected. In the final episode, a wave of deaths rolled with renewed vigor. The child (Joyen) was killed, the dog (“dog” Cligan) disappeared, love (whore of Shayya) woven, the best scene of reprisals in the toilet was played from the time of “criminal reading”. The scriptwriters gracefully edited the fate of Brienne Tart and Sandor Cligan, proving that they were doing no worse than George Martin himself. The chaos, in which the royal harbor plunged to the final credits, portends that the civil war in Westeros will become even more merciless and dirtier. The HBO channel will never skimp on the military expenses, it is scary to imagine what the grandiose battles in the ninth series or the equestrian attack in the tenth, similar to the beginning of the “gladiator” Ridley Scott, cost.

However, the future of the "Game of Thrones" is more worried than ever.

The series is increasingly reminiscent of a football team, which began to lose physical shape in the midst of the tournament. Eight seasons are planned in the Game, and there are almost no resources for the development of drama. The brightest players - Joffrey, Tywin, Oberin - are removed from the field forever. The next, fifth season, half of the best forwards - Tyrion Lannister, Daneris Targaryen, Arya Stark - should be spent on the bench: these heroes almost do not appear in the novel “Feature Feast”.

The main romantic lines broke off - John Snow buried Dikarka Igritt, Daneris expelled the adviser Jorah Mormon, Jamie Lannister moves away from his sister Cersei. Prince Martell promised his lover to return with the shield, but ended up on the shield. Tyrion strangled Shayu. Arya Stark was left without a dog. Finally, Roman Taiwin Lannister and Iron Throne tragically broke off. Love in Westeros has become less. The fragile sprouts of the new feeling-for example, between the warrior-Jew of gray worm and the former slave of Misande-are barely planned.

The novel “Farm of Vulture”, on which for the most part the fifth season will be founded, is considered the slowest in the Martin cycle and, apparently, will be the most difficult to film adaptation. The narrative in it is not conducted in chronological order, attention is paid not to all heroes, there are almost no grandiose battle scenes. The royal harbor leaves the main rogues of Westeros Tyrion and Varis, the density of events per square meter decreases: confusion reigns in the north. Holding the rhythm specified in the first part of the epic, the scriptwriters will not be easy.

From the Shakespearean tragedy of “Game of Thrones” risks turning into a semblance of “Lord of the Rings”.

Meanwhile, the devoted spectators of the “game” already developed “Syndrome of the Ninth Episode” - the habit of experiencing prohibitively acute sensations at the end of the season, regardless of whether this is consistent with the logic of the plot set by Martin. The battle in the ninth series of the fourth season impressed not all fans - a year ago they were entertained by a red wedding at that time; They want to continue the banquet. The final of the season as a result even lost part of the audience: 7.1 million people watched - this is just the fourth place among all ten episodes of the season. Perhaps this is the beginning of the end of the universal excitement around the “Game of Thrones”.

Deviations from the plot of Martin’s books are annoyed by the other sector of the fan zone. Many are unhappy that in the film adaptation, Sandor Cligan died at the hands of Brienne Tart, who had not reached him in the novel. Some snort about the edited death of Igritt. Although a bitter irony appeared in it in the screen version: if the girl’s killer is unknown in the book, then the series is a boy whose family she could completely kill in the village under the wall. It turns out that the avenger herself was a victim of revenge.

The closer winter, the more obvious that Martin is sometimes rewriting. The most unpleasant scenes of the fourth season are farewell to death. Heroes exchange tasteless remarks: “I loved only one woman all my life (and this is not you)”; "You will not die, hear?!" “You know nothing, John Snow.” Martin’s charm is somewhat faded when he switches from multi -figure political intrigues to chamber dramas - which should consist of a new season. The actors of the series are impeccable in general scenes, but many of them - for example, Emilia Clark (Daineris) and Kit Harington (John Snow) - are lost, left alone with themselves. The magnificent Charles Danes (Tywin), recall, the project left. And Peter Dinklage (Tyrion) in the fifth season, as we recall, will hardly be.

An alarming news is coming from behind the wall. Yesterday's enemies will have to unite in the face of a common threat - snow walkers. Political intrigues may become out of time: a war is coming, where diplomacy will be inappropriate. From the Shakespearean tragedy of “Game of Thrones” risks turning into a semblance of “Lord of the Rings”. Computer effects and magic stubbornly climb into the frame, for which not all HBO spectators are ready. Suppose the appearance of giants and mammoths in the ninth episode could still be experienced, in the war all the monsters are good. But in the tenth series, a child arose, throwing fire balls into the skeletons, and after him - local Gandalf. The bloody realism of the “Game of Thrones” disappears, and the on -duty fantasy begins, in which the plot of the plot is annoyed (helps at the very last moment), then the inadequacy of psychological reactions (children forget about the deceased friend and brother).

With the advent of a fabulous Varamir, a six -sple fantasy will become even larger. With new heroes, by the way, it is more difficult to establish an emotional connection with each season. Their role is often reduced to erupt brightly at the beginning of the season and die brightly at the end. This happened with Oberin (Chilean Pedro Pascal) and Varvar Eyre (Yuri Kolokolnikov, the only Russian in the project, except for the director Alik Sakharov, who has long been living in the United States). They just do not have the time to relax with the viewer in the same way as veteran heroes. This will become even more noticeable when a dozen dead season of the fourth season will be replaced by a dozen beginners - just so many new actors are now selecting scouts of the series.

All the best qualities of the Games of Thrones remain in place - but they begin to work against it. The crown of the best series of our time went to this show because of its mercilessness and unpredictability. The audience appreciated how cleverly the creators chop their heads to the best characters, turning them from the heroes almost into participants in the reality show, where everyone is equal-both saints and villains and everyone can leave the project at any moment. Now it seems that the “game of thrones” saws the throne on which he sits. True, the throne is iron, so the process will be long and sonorous.