
Ken Ilgunas and David Dalton are reviewing each episode of the final season of Game of Thrones. Check the “Game of Thrones” category to list all of these posts.
Many thanks to all who have come here to read these posts, and to all who have commented. It has been a lot of fun, and no doubt Ken and David will do more co-reviewing in the future as suitable material comes along.
Ken:
Morning David, 
Were you as sad as I was to see the credits roll? This has been the best series I’ve ever watched, and it’s played a small but special role in my emotional life of the past 9 years. We are still in the golden age of television, so perhaps we’ll be surprised again in our lifetimes, but for now there’ll be a big hole that GoT had occupied for a quarter of my life. 
As for this episode, it was solid, if unflashy. There are probably some fans who cannot forgive the show for what it did to Dany, who was practically a Nazi empress in the end. I have my sympathies with them, as you know, but if we can accept the plot and forgive the writers their mistakes, I think this was a good enough episode to conclude a legendary series. Stray thoughts…
– There seemed to be two episodes in episode. The first one ended when Drogon turns the Iron Throne into lava. The second one begins with the constitutional convention outside of the city with all the remaining lords and ladies of note. There was dissonance between the two, and I wish they’d broken this episode into two. The moment when Jon kills Dany was such a HUGE moment, but yet it felt improperly placed at roughly the twenty-minute mark of the episode. Think of how dramatic that scene could have been if they’d ended the episode with it. You can’t kill Ned Stark on the third minute. You can’t kill Jon Snow in episode two of a season. Timing matters. Placement matters. And to maximize the gravity of that scene, and to simply do respect to such an important character, you have to give her the dignity of dying in the last moments of an episode. 
– After that scene, it was as if a new director took over. It flowed awkwardly into the constitutional convention, which is the sort of scene that isn’t a strength of the show. Later on, the camera work following the backs of the characters’ heads is the sort of scene I’d typically love, but I found it a touch confusing and rushed. 
– Does everything fit together? You know I’m unhappy that we didn’t get any closure to the magical and fantasy side of the show (The Night King, the fire religion, etc.), but I think we got good closure for the political situation and for the characters. Dany did indeed break the wheel, and Westeros has evolved into a crude republic. Arya got to go on her adventure, Sansa got to Brexit the north from the realm, and Jon got to live a free life. I’m sure many of us were hoping it would be Jon on the Iron Throne, but Bran makes sense, and it’s nice to know Jon will get to live a life, wild and free, in a land he felt drawn to, and where he’ll have many adventures. (Let’s just hope there’s no “King of the Wildlings” spinoff series.) 
– Why did Drogon melt the Iron Throne? Was that rage or wisdom? 
– If you’re George R.R. Martin, how do you feel watching this episode?  
– What are your thoughts?
David:
Mornin’, Ken …
Well, here we are. This is the first day of the rest of our lives after Game of Thrones. On this hard day, we snap back to the “real” world and think about how the story has changed us. Having immersed ourselves in a collective experience (we have so few of them), we’re on our own again. It doesn’t help that when we squint and peer into the harsh light of the real world, as though we’ve just emerged from a dark theater, we see that we’re in a big mess. Maybe we don’t have to completely let go of Game of Thrones, though. As we look back at the series, there are a great many metaphors and encrypted meanings to be mined. In fact I think that the final episode points us in that direction and encourages us to get to work to fix this world. Where should our characters go next, and what must we do?
I do have some dissatisfactions. For one, I think we needed more catharsis. At least this episode slowed down and gave us time to think and time to feel. But I agree with you that it would have been better as two episodes. On the stage, there is a wonderful part of the show that film does not have — the curtain call. On the stage, the catharsis will have occurred during the last minutes of the drama, but somehow the curtain call seals and verifies the catharsis and smoothes the transition back to the real world. Some films try to replicate this experience by showing portraits of all the characters as the credits roll, revisiting key scenes. Something like that would have been a great help with Game of Thrones.
The story did indeed follow a classical trajectory, and for that I am extremely grateful. On the whole, the good were rewarded, the wicked were punished, and the surviving characters have a path to their hearts’ desire even if they have not yet achieved it. I don’t want to quibble, especially on the day that we’ve arrived at the end and all of us are in need of therapy. But I do think that there are too many loose ends and too many ill-fitting elements that seem to have been contrapted. At the end of the previous episode, in which Daenerys broke bad, I still hoped for something closer to perfection. But now I would agree that the final two episodes could have been better. Was it Martin’s touch that was lacking? If so, will Martin’s forthcoming books do a better job? 
When Drogon melted the Iron Throne, I saw it as both rage and wisdom — rage that the throne was the thing that Daenerys died for, and wisdom that it wasn’t worth it. Drogon no doubt felt rage toward Jon but decided to spare Jon and direct the rage toward the throne.
Though many people had recently guessed that Bran would end up as king, it still rates as a major surprise, I think. Martin is telling us something with that — the importance of qualifications that come with being broken, abstract, reserved, and far-seeing, as opposed to a person of all action and a great deal of talk. I think that Martin also is telling us something with what you called the constitutional convention, in which everyone, including the lord only of onions, gets a vote. As for how George R.R. Martin might feel watching this episode, my guess would be that he saw the flaws more clearly than anyone and that his energy for finishing the final volumes is greatly renewed. At least I hope so. We do have that to look forward to — reading the last two books.
Ken:
Let’s start with quibbles…. 
Why did the show-makers have to rush these past two seasons, and these last two episodes? I doubt that there were logistical impediments. By now, they had obscene budgets. The actors were all in. The fans were happy to wait an extra year to give them a chance to get everything right. HBO would have loved to have millions of people visiting their site and channel for a few more weeks, right? 
But yet it all felt rushed. It’s such a shame because there were so many things that could have been developed, starting with closure to the Night King plot. There was some mysterious connection between the dead, climate change, and magic, and I think this would have been difficult (but rich and complex and one-of-a-kind) storytelling if they’d really taken the time to sort it all out. And time and resources they had! There were so many more little conversations that could have happened. Just put a slosh of wine in two cups and have a pair of characters talk for a scene. This could have made these last two seasons feel less rushed, and it would have given the writers more opportunity to better tie up everyone’s story. It could have made Dany’s turn less abrupt. And this is the sort of scene that isn’t that expensive to produce. 
As for the curtain call, wasn’t Arya on the boat and Jon on her horse in the woods enough, or did you think the curtain call could have been longer and richer? Or are you suggesting we actually see the characters as actors? I think I’m with you, but I’m not sure how much more we need. Jon erecting a teepee or winking at a wildling? How would you have orchestrated a proper curtain call?
What about catharsis for the hundreds of thousands of commoners who’ve been pounded into the dirt by years of war and flame? Yes, this has always been a story about lords and ladies (it’s a Game of Thrones after all) as well as the few commoners bright or talented enough to climb the ranks (such as Davos and Bronn…). I’m not trying to sound sanctimonious here; I’m merely making the point that the Westeros world-building feels a little empty without having true commoner characters and points of view. I know I’m beating a dead horse, but I want to beat it one last time. We see everything from the point of view of a few conveniently-born characters, and never (except when they’re being incinerated) the people of Westeros. And Westeros is more the people than the elite, right? They experience years of warfare and genocide, but we don’t get to hear their complaints or calls for justice. There should have been a voice from the King’s Landing masses who called for the heads of every lord and lady after the most recent incineration. In reality, that kingdom ought to be ripe for a French Revolution. I suppose we got a bit of this with the Grand Sparrow and his religious uprising, but I feel like the show has failed to give the people their proper ending.   
That said, I’m fine with the show ending as a crude republic (“oligarchy” might be a better term). Democracy can’t sprout up from just anything, even ashes. And this Iron Age empire just wasn’t prepared for it, but we have seen positive incremental change, and that, as a form of government, is good enough for me, even if the wheel is still sort of rolling.
I think Bran as king could have been set up better. We’ve seen that Bran has knowledge and that he’s level-headed. And yes, there are virtues to having been broken, or from having lived a hard life. But have we seen any leadership from Bran? Couldn’t the show have done a better job either emphasizing his supernatural gifts or his fitness for office? I suppose I don’t think the show integrated the three-eye raven part of his character with his new role as king. Is Martin saying leaders should be like three-eyed ravens? If so, I’m not sure what that means. I thought Bran might end up living in the roots of a weirwood tree, like the last three-eyed raven, but what was even that dude’s role, other than being the keeper of knowledge? Maybe there’s something here, but it all feels a bit muddled to me… The problem with Bran, at bottom, is that we saw him collecting information, and not necessarily wisdom. Wisdom requires a bit of suffering, and while Bran has certainly suffered on his journeys, I’m speaking more to his vision quests and time-traveling journeys, on which he seemed like artificial intelligence gathering data about humans, and not quite a human, living and learning. That fact that he’s this autistic Spock-like creature in the end emphasizes this problem.  
Okay, less quibbling… 
GoT is such a groundbreaking show because it has done things no show has attempted to do. Can you think of a plot that is as long and interwoven as GoT’s? Yes, much of it clearly was not figured out ahead of time. But a lot of it was (seasons 1-6, I’d argue), and I do think the big things were: that Dany would turn, that Jon would stab her, that Arya would kill the Night King, and that Bran would be king. Such storytelling is a monumental and, to my knowledge, un-replicated feat. It was imperfectly executed, but nothing comes close to rivaling the epic length and complexity of the story. 
The show’s display of political backstabbing spoke to the cynicism we have for our politicians. The threat of the Night King and a long winter spoke to our looming worries of overpopulation and climate change. That our favorite characters died and terrible people came to wield power speaks to our own experiences in our own countries. The death and devastation and treachery, the idealistic dying and the powerful prevailing, all felt strangely comforting. That’s because this fantasy show was more real than reality TV. It exposed conventional storytelling narratives for the fakes they are, always letting the superhero miraculously survive and triumph. Like our world, it was a savage, gritty, predatory universe. Whether by luck or design, GoT was the perfect show for the 21st Century. It failed when it swept plots under the rug (“winter is coming”), but it succeeded in tapping into the zeitgeist and into our psyches to tell a story that spoke to our gravest concerns and sincerest hopes—hopes for a better world. It tells us to go on long journeys. To suffer so we can empathize with others. To play fair, but when you play, play to win. To take incremental change when you can get it. To put the wise in power. To let the kind and savvy advise him/her. To kill the tyrants. To live free. To explore. To Brexit (?). To let go of your longings for hateful revenge. And, all the while, to make the world as you wish it to be, while always seeing it for what it is, good and evil and everything in between.
David:
Very good thoughts and good words, Ken. For now, I have only two small things to mention.
By curtain call, I was thinking about brief clips of scenes that include the characters who did not survive until the end. (The film version of “History Boys,” for example, has a kind of virtual curtain call at the end, the dead included. That was very effective and helps to give emotional closure. Doesn’t “Princess Bride” do that, too?)
You mention the Iron Age. Let’s hear it for the Iron Age! One of the many things that made Game of Thrones so enjoyable was being able to spend so much time in an Iron Age world — horses, wind-powered ships, buildings of stone, lots of fireplaces, rough roads, long travel times, terrain unspoiled by heavy machinery, artisans rather than factories. One of my dreams for the real world is that, whether accidentally or intentionally, most of our technologies fall back to the Iron Age.
For an update, I’d like to think some more about science fiction and fantasy fiction (and film) in general and how Game of Thrones has advanced the state of the art.