It was as though the show, burdened with a story near-impossible to carry across the finish line, lost its nerve. While Peter Dinklage earned his fourth Emmy by making this Wiki-dump as compelling as it was, her turn to darkness was earned or was not: Reciting a list of facts cannot make up lost time. It was preceded, too, by a disquisition by Tyrion as to Daenerys’s entire character arc up to this point and why it makes her quite so dangerous. Daenerys’s death, for instance, was depicted powerfully and movingly by both Emilia Clarke and, as her killer Jon, Kit Harington it also fell strangely early in the proceedings, so much so as to leave perhaps too much time for debates about the origins of democracy to sap momentum. A very late sequence cross-cutting between Sansa, Arya, and Jon, walking respectively through Winterfell, across a ship headed to colonize points unknown, and on a return visit to the North, worked well as a bit of deflated and mournful story, even as elements of it (Sansa got her crown!) seemed designed to elicit cheers.Ī viewer doesn’t know how much of the story truly belongs to Martin, which makes it difficult to critique this episode on a plot basis. The story they inherited zagged another way, and either to preserve an elemental surprise or simply by dint of lacking more story time to set up what was to happen, viewers were carried along absent preparation or sense. Weiss had made was one that seemed to be breaking towards any of the three other Stark siblings - Sansa due to her long-running narrative of learning the rules of the game, Arya for her doggedness, Jon for being one of the show’s two protagonists (and for killing the other). The symmetry of Bran falling out of a window in the first episode and ascending to rule in the last picked up whatever poetry Peter Dinklage could lend it through narration, but falls flat given how meager a presence Bran has been for seasons now, delivering gnomic provocations but almost no plot action.
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It bears the tang of fan service (in that Tyrion introduces the concept of a vote, and Samwell Tarly ushers it along, both behaving not exactly out of character but along the lines viewers might hope they would), but yields a result that’s so hostile to viewers who’ve followed this series all along that Tyrion has to explain it to characters and fans alike. The jump from Daenerys’s death amidst snowfall and her removal by dragon from King’s Landing to, suddenly, a sunny clime in which Westerosi potentates are, putatively only weeks later, discussing the management of government is jarring and random. What it failed to do was seed the ground either for Bran’s ascension to rule the Seven (or, with an independent Winterfell, Six) Kingdoms or, more crucially, for the sudden genesis of democracy.
That final season did certain things very intelligently, among them killing off the Night King in the third episode to allow three installments devoted solely to the endgame in Westeros.
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