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The series spent a lot of time showing her transformation from an abused little sister into a great liberator, marshaling viewers’ support for her, only to let it deteriorate in a few episodes. (Tyrion actually tries to appeal to Cersei’s heart after the fight, as if he hasn’t already learned the hard way that his sister doesn’t have one.) The overall goal appears to be the descent, perhaps into madness, of Daenerys, as she loses supporters, armies, and dragons but her fall is too abrupt, just as her chemistry-less love for Jon is. It was only an episode later when Dany hurried into a confrontation with Cersei, without due diligence, losing a dragon and Missandei - and our need for at least a tiny nod to battle logic - in the process. Martin’s quasi-medieval world have been waiting for the confrontation for thousands of years, having built the Wall and formed the Night’s Watch in anticipation of a clash. And that has only been going on for eight years for viewers the knowing inhabitants of George R.R. There may be no better symptom of this than the war between the living and the dead, the Great War that took place in the third episode, “The Long Night.” Since the opening frames of the series, we’d been heading toward this potentially shattering existential threat, which had by comparison dwarfed the battling among the houses. Now is the time when the writers should be letting us savor each last development, each decisive twist, not rushing forward and throwing bouquets of fan service at us as a kind of subliminal apology. The show is heading into its denouement at a much greater speed than everything that came before it - accelerating when it should be decelerating.
The reasons for disappointment abound, in terms of character continuity and logic, but they all share one thing in common: pacing. This is also about placing those last remaining pieces into the elaborate puzzle the show has built over its seasons, letting us know that it has all been carefully designed and not a random accumulation of plots.Īnd I’m sad to say that, so far, in terms of both emotional and intellectual wind-down, the final season of “Game of Thrones” has been a dud. This isn’t only a matter of giving audiences an emotional sense of closure, the kind of final gesture that “Six Feet Under” delivered so brilliantly.
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Even for the best TV writers, resolving “Game of Thrones” would be a test, finishing up an intellectual exercise that has rivaled “Lost” for complexity. I’m not sure any final season could satisfactorily pull together all the copious elements of “Game of Thrones,” even as the main cast has come down to a half-dozen or so frontrunners. So the pressure to get it right - to “stick the landing,” the metaphor TV critics are wont to use about series finales - is massive. Our presidential campaigns seem to go on forever, our own games of thrones an eternity of punditry and polls, but they last only about one-fourth the length of the HBO show’s run. It has been eight years of tracking each and every Stark, Targaryen, Lannister, Baratheon, Greyjoy, Martell, and Tyrell, eight years of speculating about who’s zooming, dooming, and entombing who, eight years of watching Daenerys’s braids multiply with each of her victories. It has been a long time coming, this wrapping up of the “Game of Thrones” saga.
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