If Ned Starks’ death before the end of season one of Game of Thrones didn’t do it, the Red Wedding in season 3 cemented the fact that no character was safe on this show and anything could happen. The way the hit HBO show messes with the audience and defies expectations is why it’s the best show on TV right now and quite possibly one of the best of all time.

Now that The Long Night (the title of season eight, episode three) is over and the dust, or rather the shards, of former White Walkers has settled, it’s clear, at least to me, that The Battle of Winterfell delivered exactly what Game of Thrones promises. It’s just not in the way fans may have become accustomed to.

The Screen is Dark and Full of…I Don’t Know

Watching the episode live, our group wondered if there was something wrong with the streaming service we were watching it on as it was difficult to see a lot of what was happening at the beginning. Turns our Crave (I’m Canadian) wasn’t overloaded, parts of it were dark, in the literal sense, for everyone.

While this lead to complaints and even an explanation from the episode’s cinematographer (something about HBO’s compression rate), I think that the showrunners should just own this as an artistic choice. Because it’s a brilliant one.

It’s war. At night. In Winter. You’re not entirely sure what The Army of the Dead is throwing at our heroes. Well, neither are they.

When the flaming Dothraki swords go out, you don’t see what is happening to them, but you know it’s bad. You’re getting the same view of the battle that Jon (sorry, not going to call him Aegon until he asks another character to do so), Dany, Sansa and the Unsullied are. When the dragons crash into each other because of poor visibility, you don’t know right away that it’s just Jon and Danerys, and neither do they.

And I’d like to add that it looked beautiful. Everything doesn’t need to be brightly lit for it to be a cinematic treat.

Just as he did in The Battle of the Bastards, director Miguel Sapochnik made the audience feel as though they were in the midst of things for real. Low visibility and confusion for the audience is the new “I can’t believe you killed” x character.

All My Faves Didn’t Die

Speaking of character deaths, there were some major ones in this episode: Jorah, Theon, Melisandre, Lyanna Mormont, Beric Dondarrion, Edd and, oh yeah, The Night King and the entire Army of the Dead (plus we don’t know about Rahaegal the dragon and Ghost). Most of the fan focus, though, has been on those who did not meet their end.

With this discussion terms like “plot armor” pop up in order to infer that GOT has lost its edge and joined the ranks of ordinary storytelling. It’s actually the opposite.

Brienne of Tarth got knighted last episode, something she has always wanted. Grey Worm and Missandei made plans to travel when all of this was over, the Westeros equivalent of three days away from retirement from the police force and I bought a boat.

These characters didn’t enter the battle with plot armor, they did so with giant narrative bulls-eyes painted on their backs. Their survival here is as much an unexpected event as Ned’s death was way back when.

Of Course it Was Arya

So Arya Stark killed the Night King and with one stab ended the Army of the Dead. An unexpected twist ending. Well, not killing the Night King to win, that was the main part of the plan laid out in the last episode: use Bran to lure him to the Godswood and then somehow take him out.

No, the surprise is that it was Arya who assassinated him. Yes, the only trained assassin in Winterfell at the time carrying out the assassination was the big surprise.

Even if you ignore those who called Arya a Mary Sue (it’s easy to, they ignored the season and a half we saw her training to do just what she did in The Long Night), there are still plenty of people who were surprised by (and also elated at) the choice.

Sure, this is something the show has been setting up since season three. Sure, the guy who knows everything gave her the weapon she ended up using last season. Sure, she snuck up on Jon in the same location two episodes prior.

It’s just that Arya had her own storylines. The Night King was part of Jon’s storyline and later Dany’s. He wasn’t even on Arya’s list. Arya killing the Night King is about as unexpected as Jon killing Cersi.

With this move, GOT defied expectations by having the most logical thing happen. Now no plotline is safe from being intersected by another.

Cersi as the Final Boss

So wait, the Night King and the Army of the Dead are no more? The finale is Jon, Dany and company versus Cersi for the throne? That can’t be right.

Or so I thought for a bit after the episode ended. Pretty sure I wasn’t alone in this, considering how they have been building the supernatural zombie aspect of the show since the very first episode and the Night King specifically since Hardhome.

But they’ve also been building up the intrigue, the scheming and Cersi Lannister from the very first episode. And with good reason: her double-cross which seemed selfish and ignorant of the big picture turned out to be really good strategy.

The Army of the Dead are all truly dead and Dany’s forces are seriously diminished. And even if someone (hi Arya) assassinates Cersi, the Lannister forces and the Golden Company won’t instantly shatter like glass.

Making the battle for all life in the world the second to last act is a truly unique choice. The kind of expectations-defying choice that Game of Thrones has made throughout its run and continues to do in its final season.

Yes, winter is coming, but this spring, Canadians will be able to legally stream Game of Thrones without a cable subscription. Crave (formerly Crave TV), Bell Media’s Netflix competitor, just added an extended package that includes all HBO and Showtime content, including new episodes and a feature called On Air that allows you to watch shows from those networks as they air on TV before they show up in the on demand menu.

You have to get the basic Crave subscription at $9.95 a month and then add the extended package for another monthly $9.95, so $20 a month plus tax for HBO and Showtime, plus a bunch of recent movies (including what looks like all of last year’s Best Picture nominees), shows like Star Trek Discovery, and original content like Letterkenny. There’s even a very interesting back catalog with classic sitcoms like Cheers, but no Night Court…like c’mon, someone pick up Night Court, please. 

It’s currently available on computers and mobile devices and will be available on Samsung Smnart TVs, Apple TV and other platforms as of November 15th. From the looks of it, it’s a better deal than Netflix.

While I’m clearly gleefully plugging this product, this article is not sponsored content, but rather rare editorial praise for Bell Media from a frequent critic. It looks like they have finally embraced the way a good chunk of the population consume TV and have stopped trying to push an old model on those who clearly don’t want it.

Even as HBO made all of their content available, with no strings attached, through their GO app in the US a few years ago, Bell, which owns the Canadian rights, refused to see the light. Sure, they made an app, too, called TMN GO, but you had to get a cable or satellite TV package first and then subscribe to HBO Canada on TV before you could pay the ten or so bucks for it.

So basically, in a lot of cases, the choice was pay over $100 a month on top of the cost of an internet connection to watch one show or risk getting an angry letter for illegally downloading it. Yes, HBO is much more than GOT, but that show’s the hook for people living in a post-cable world.

Bell was effectively ignoring a potentially huge market that they could easily get with no risk of losing the cable and satellite market they already have as a result. My friend’s parents who have been paying for a satellite package and HBO for years aren’t going to cut the cord just because the same content is now available in another format.

Meanwhile, people who don’t give Bell Media any money but still consume the content might be inclined to pay and go legit if presented with a reasonable offer and become customers Bell wouldn’t have any other way. Now, it looks like Bell Media has finally accepted and embraced that fact.

This will only help them promote original content, too, as it will now be running on the same platform as really popular shows. Come for Game of Thrones, stay for Letterkenny.

The future is an internet subscription and two to four streaming services. With the Crave expansion, Bell Media clearly wants a part of that future. Now if only they could add Night Court.

*** Contains SPOILERS for the two part premier of Twin Peaks Season 3 ***

The new Twin Peaks, or at least the double-episode premier, is not what I expected, and that’s one of the main reasons I think it really works. In true Twin Peaks (moreover in true David Lynch style), it’s a mindfuck. That much was expected, but just how it messes with the audience, well, that’s another story.

I knew going in that there was a slew of new actors joining the original cast, meaning a bunch of new characters. What I wasn’t expecting, though, were new locations and certainly not New York City. When I saw those words appear over a shot of high rise office buildings so early in the show, I thought that Twin Peaks had jumped the proverbial shark.

What is Lynch doing? Why are we here? We haven’t even seen Audrey yet and we’re getting Manhattan? Who’s Tracy? Isn’t this show supposed to be about the town?

Sure, Fire Walk with Me spent the first part of the film in some other town, but it was tied to the Laura Palmer murder. In the show’s first two seasons, they never left the town except for a few boat rides to One Eyed Jack’s and, of course, multiple trips to the Black Lodge. Going to another dimension is one thing, but going to a major city?

But soon enough we were back to the familiar with the Horne brothers (of course Jerry’s in the legal weed biz) and then the creepy shots and…evil Cooper! I don’t know if it’s the makeup or Kyle MacLachlan aging very well, but even with in his doppelganger persona, it felt like we were back to the Twin Peaks I knew and loved.

That feeling stayed, even when we returned to New York and then took an extended stay in Buckhorn, South Dakota. The feeling was a mix of offbeat everyday life oddball characters and some really creepy shit. This was Twin Peaks, regardless of the changing setting.

I didn’t get the nostalgia fest I was expecting, though the nostalgia that was included in the premier was palpable to say the least. This was an entirely new story continuing the old story (which you need to watch before delving into this one) with new characters that weren’t just the kids of the characters we already knew, though I’m sure some of the new characters will be in upcoming episodes.

Also, we were promised coffee and donuts very soon. Deputy Hawk, please don’t disappoint. And if the final sequence at the Bang Bang Bar is any indication, we’re going to be spending more time with the characters and the town we know in upcoming episodes.

But that really isn’t the point. I now realize that I had been hoping for nostalgia and for it to somehow not to suck too much. Instead Lynch and company delivered something new and just as original and potentially just as groundbreaking as the original series.

He’s not resting on his laurels, he’s doing something entirely original. I honestly don’t know where any of these new and old stories are going and that’s truly refreshing. As the Giant said during the original run, “It is happening again.”

And that’s the biggest Lynch mindfuck of them all.