Game of Thrones "The Iron Throne" (S08E06)

For this final season of Game of Thrones, Team Experience members Ben Miller and Eric Blume have been alternating on coverage. Now they're joined up for the final wrap. - Editor

BEN MILLER: Alrighty Eric.  We are at the end of the line.  Before we get to the final episode, are you happy with the final season leading up to the finale has gone?

Personally, I feel it's been pretty fulfilling.  The problems everyone seems to be having are more related to the spectacle and anticipation as a whole.  This might be the last piece of monoculture we have for a while, so everyone has strong opinions about what it should and should not be.  I also believe our culture does not lend itself to objective criticism.  Instead of watching an episode and forming your own opinion, you watch the episode while the rest of the world is simultaneously tweeting about it.  After the episode, you watch the immediate reaction videos and fiery blog posts.  The next day, you laugh or scoff at the thousands of produced memes, read seven reaction articles and reviews, take in another dozen YouTube videos, then you suddenly have an opinion.  I started my personal media blackout until my opinion was formed after episode 2 of this season.

ERIC BLUME: While I agree with your assessment of how movies and TV are now consumed, I think there's a more disturbing trend at hand with this season:  armchair criticism.  Obviously it's cool to be disappointed with this final season in whatever way you're disappointed.  But the ugly dismissal of Benioff and Weiss by viewers is deeply gross to me...

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Game of Thrones "The Bells" (S08E05)

previously on Game of Thrones

by Ben Miller

Boy howdy, that was an episode.  Regardless of your thoughts on the final season, we can probably all agree that the penultimate episode, “The Bells,” was the MOST episode Game of Thrones has had in a long while, if not ever.  Before we get to the big developments in the back half, let's focus on some of the other quieter scenes that really popped...

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Game of Thrones "The Last of the Starks" (S08E04)

by Eric Blume

In this season’s best episode yet, Game of Thrones head creatives David Benioff and D.B. Weiss display their astounding aesthetic taste and uncanny ability to know exactly what viewers want to see.  This episode featured one powerhouse match-up after the next, giving us duet after duet of characters we want to see together, talking about what we want them to talk about, in exactly the way we want them talking about it.  The episode also features particularly fine writing, an element of Game of Thrones that often goes unsung despite being one of the show’s strongest features.

The show opened with a funeral segment and an extended banquet scene that paid tribute to last week’s monumental battle...

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Review: Dead to Me (Season 1)

By Spencer Coile 

In recent years, Netflix has held the honor and burden of bringing to life countless TV series – giving a voice to talent previously under or unseen. While it has become impossible to keep up with everything the platform currently has to offer, it also allows its creators, writers, and directors to tell their stories on their terms. Gone are the days where television was situated comfortably in the binary of comedy and drama. Now we have space carved out for shows that subvert our expectations, make us uncomfortable, and if we’re lucky, invite us into the artist’s vision. 

Liz Feldman takes complete advantage of this genre fluidity. Her Netflix creation, Dead to Me (streaming now), is a darkly comic meditation on grief and the ways it manifests within our interpersonal relationships. Featuring especially remarkable turns from two typically underutilized actresses, Christina Applegate and Linda Cardellini, Dead to Me is a prickly, but surprisingly personal examination into how we process trauma... 

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Fosse/Verdon - EP 3: "Me and My Baby"

Previously: Episode 1 and Episode 2

by Eric Blume

Fosse/Verdon certainly isn’t flawless, but it’s very strong out of the gate in these first three episodes.  Hamilton director Thomas Kail guided the first two episodes with an assured hand, throwing us headfirst into the theater world with little set-up, allowing audiences to feel their way into the environment, and trusting that his two star performances will keep people hooked.  His instincts were right on, and despite some awkward editing and temporal shifts, the show is arresting, absorbing, and intelligent.

Episode Three is directed by Adam Bernstein, a very talented guy who won an Emmy for 30 Rock and was nominated for Fargo...

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