Game of Thrones Series Finale Review: The Iron Throne

(Photo Credit: HBO)

Game of Thrones 

Series Finale 

By Garrett Yoshitomi 

@garrettweets 

With all due respect to Ralph Waldo Emerson, sometimes it is the destination, not the journey. That seems to be the case, at least, for the thousands of fans expressing their dissatisfaction with the disappointing series finale of Game of Thrones. And, while I don’t make it a habit of basing my analysis of a show on what people are saying on social media, the negative word-of-mouth appears to coincide with critics’ assessments, as season eight, episode six, ‘The Iron Throne’ currently clocks in at just 48% on Rotten Tomatoes, making it the second worst-reviewed episode of the series. Now, are the frustrated, typed in all-caps, criticisms flowing from Twitter and Reddit necessarily representative of the fan base as a whole? Of course not. These platforms (especially Twitter) are known for rewarding opinions whose voices are the loudest, rather than those that are held by a majority of people. However, these aren’t mutually exclusive. It is possible for the loudest opinions to also be the most popular, and for a series as culture-defining as Game of Thrones, to ignore the opinions of the masses is to disregard a significant factor in what makes Game of Thrones such an important part of television canon. If, Game of Thrones’ near universal popularity and place within the “monoculture” is cited as one of the show’s strengths, then its dip in the public approval ratings, post-series finale, has to be held against it in the same way. 

(Photo Credit: HBO)

And make no mistake, the series finale of Game of Thrones is bad, and rightfully earns the scorn of fans for its rushed pacing, multiple plot contrivances, and the impactless conclusions it delivers for some of the series’ most important and longest running storylines. Prior to this week, I’ve been a fairly modest defender of season eight - I thought the first two episodes, though slow moving, were particularly strong, and I didn’t mind the almost unwatchable ‘Last Night,’ as others might have. And, while I can’t excuse the disastrous fourth episode, ‘The Last of the Starks,’ I actually rather enjoyed last week’s ‘The Bells,’ despite it being considered by many to be the worst episode of the entire series. Perhaps part of my enjoyment of this admittedly flawed season has been caused by my willingness to overlook its shortcomings, in the hopes that every tattered loose end was purposefully left dangling because the final episode would eventually swoop in and wrap everything up in a neat and satisfying, albeit slightly misshapen, bow. Boy, was I wrong. 

Unfortunately, there’s no “silver bullet” storyline in ‘The Iron Throne’ that instantly and retroactively justifies every questionable creative decision made in season eight. Even if there was, it wouldn’t be enough to fix the first five episodes of the season, as well as all of the glaring plot holes in the series finale. For instance: How is Jon not killed on the spot by either Drogon, the Unsullied, or the Dothraki, after murdering Daenerys? Speaking of which, why is Daenerys left completely unguarded in the middle of an active war zone? How does Grey Worm (or anybody, really) not take issue with the fact that Tyrion, a prisoner for treason, is not only allowed to propose a new method for selecting a king, but also ends up choosing the king, becomes Hand of the King, and ultimately sets himself free? Why doesn’t Yara demand independence for the Iron Islands (something they’ve historically fought for), after Sansa does so for the North? These are all worthwhile questions that are answered rather sloppily, or not at all, within the episode. But, their spheres of influence are relatively small, especially when compared to the big series-defining development of the episode, when Bran is named King of Westeros. 

(Photo Credit: HBO)

As surprising as it is for Bran, of all people, to be chosen as King of the Seven Six Kingdoms, I actually think it’s an ending that could have been reasonably satisfying had the show given this particular outcome the right amount of build-up. But, rather than subtly guiding the story towards an eventual Bran ascendency, what little screen time Bran’s received over the past three seasons (and remember, Bran actually didn’t appear at all in season five), has been spent establishing him as an unfeeling, non-Bran deity, uninterested in, and incapable of holding political titles, and who just one season ago cryptically claimed, “I can never be lord of anything. I’m the Three-Eyed Raven.” As it stands, though, Bran’s ascent to the throne feels nonsensical – a surprising result, sure (unless you follow Vegas betting odds), but only because of the inherently surprising nature of options that weren’t even considered options. Unlike the glaring, but ultimately less significant plot contrivances mentioned above, this is an outcome that seems to really matter. (The show is called, Game of Thrones, after all.) So much so that a lot of season eight’s issues could have been forgiven, had the right person been put on the throne. 

Showrunners David Benioff and D.B Weiss were once able to pride themselves on crafting the most carefully laid storylines this side of the Narrow Sea, constructing a show where the smallest details mattered, and the complex history and culture of the fictional world of Westeros came to life, shaping the story in organic, yet unexpected ways. But, somewhere along the line, this artful storytelling fell by the wayside. Blame the show surpassing the original source material, leaving its writers at a loss for how to handle Thrones’ more complicated and nuanced mechanisms, or blame the shortened episode counts for seasons seven and eight for not giving the series enough runway to flesh out the conclusions for many of its most crucial storylines. But, understand that like with any show, the success and failure of Game of Thrones is, and always has been, based on the decisions of its creative team. And, just like it’s perfectly reasonable to acknowledge a show’s successes, it’s equally reasonable to acknowledge its failures. It just gets a little tedious when the failures become, more or less, the only thing you can talk about. 

(Photo Credit: HBO)

When it comes to endings, people fundamentally want to see good triumph over evil. Sure, we love nuance and a good expectation-subverting twist every once in a while, but ultimately, we want to see the heroes win and the villains lose. That’s why we root for Rocky Balboa and not Ivan Drago; for Jim to get together with Pam, over Roy; for the Avengers to defeat Thanos. These beats have been the bedrock of storytelling since the beginning of storytelling, and not even a series as groundbreaking as Game of Thrones is above these expectations. Even the few fan-approved moments of season eight are just by the book plot points, like Jaime and Brienne finally getting together, or all the Stark siblings reuniting after being separated for essentially the entire series. People like when characters overcome insurmountable odds. Seeing star-crossed lovers finally end up together makes us happy. It’s human nature. That’s why an endgame that put Jon Snow on the throne wouldn’t have been as bad as some fans believe. Sure, it’s predictable, but it’s also a rational conclusion that’s supported by the narrative, and coincides neatly with our traditional expectations for storytelling. And, even if the writers went with a non-traditional outcome, (which they did), that’s okay. Good writers should be able to craft their story in a way that presents an unconventional ending as a logical, acceptable outcome. Sadly, this is where the final season of Game of Thrones fails, and while it certainly affects the show’s legacy, it certainly doesn’t negate all of the brilliant storytelling that’s graced our televisions during the previous seven seasons. For better or for worse, part of the journey is the end, and as a wise man once said, “Don’t cry because it’s over, smile because it happened.”

Game of Thrones Season 8, Episode 5 Review: 'The Bells'

(Photo Credit: HBO)

Game of Thrones

Season 8, Episode 5

By Garrett Yoshitomi

@garrettweets

Well, one thing’s for sure, you definitely didn’t have a hard time seeing what was going on in that battle. Just two weeks removed from the infamous Battle of Winterfell, which was literally so dark that within days of episode three’s debut, fans took to YouTube to upload their own “visible to the human eye” versions, Game of Thrones follows up with another massive, epically destructive clash, this time between the armies of Daenerys Targaryen and Cersei Lannister. Unfortunately, not even a visually stunning siege can save Thrones’ sagging critical reception, as the penultimate episode of the series, ‘The Bells,’ clocks in as the series’ lowest rated episode to date, according to Rotten Tomatoes. Just like the rest of season eight, ‘The Bells’ certainly has its fair share of problems, but I actually rather enjoyed this episode, and thought it was a nice bounce back after the disappointing ‘The Last of the Starks.’

(Photo Credit: HBO)

For a battle-focused episode like, ‘The Bells,’ all analysis starts and ends with the action, and the fight for King’s Landing delivers both in spectacle and storytelling. Say what you will about the overall quality of the episode, but the entire battle looks, quite simply, amazing, and there are several action sequences that rank right up there with the very best Game of Thrones has to offer. From Drogon’s initial dive bomb on the Iron Fleet, to the Unsullied and Dothraki storming the streets of King’s Landing, this episode provides the kind of moments that fans have been waiting years for (decades, even, if you’re a book reader). Ever since Daenerys set her sights on the Iron Throne back in season one, the idea of what her eventual conquest would look like has lingered prominently in fans’ minds throughout her six-season journey to Westeros. Although many will disagree with this episode’s ultimate conclusion, it’s hard to deny that ‘The Bells’ is filled to the brim with exciting visuals, well-directed action, and fight scenes that, in general, are much more novel and coherent than the un-seeable mess that was the Battle of Winterfell.

Most viewers will point to Cleganebowl (get hype) as the high point of this episode’s action. The much-anticipated showdown between brothers, Sandor and Gregor Clegane, saw its popularity amongst fans soar to almost mythical heights during the course of the show, and this epic clash between two of the series’ strongest fighters proves well worth the wait. Despite occupying more of a supporting role throughout the series, the Hound’s unrelenting thirst for vengeance has become so ingrained within his character that we, as viewers, can genuinely feel Sandor’s sense of accomplishment, when he finally finds himself face-to-face with his brother.

(Photo Credit: HBO)

If it wasn’t for the truly brutal display of violence to follow, this long-awaited meeting has almost a picturesque feeling about it, as the two combatants stare each other down amidst the flaming, crumbling tower of the Red Keep. The pure hatred emanating from Sandor, (played by Rory McCann), gives this fight a welcome dose of human gravitas that’s rare for a typical Game of Thrones’ skirmish. And, the choreography does a good job of capturing the Mountain’s overwhelming physical advantage, while still allowing the Hound to put up a believable fight. However, when the tide starts to turn against the Hound, it turns quickly, and the desperation in his flailing attempts to regain the upper hand, is all too palpable. Finally, the scene reaches its climax with a beautiful long shot that pans down the length of the Red Keep, following the two brothers as they tumble to their mutual deaths.

(Photo Credit: HBO)

But, as incredible as it is to experience Cleganebowl on the silver screen, I’d argue that the long, slow-motion shot of Grey Worm mowing down a crowd of Lannister soldiers is actually the best action sequence of the episode. It’s the type of badass hero shot that’s typically reserved for the likes of Jon Snow, but Grey Worm proves that he’s just as capable of carrying a fight scene, as he quickly and methodically uses his trademark spear to stab and slice his way through enemies like hot butter. Of course, this never would have happened had the Lannister army not momentarily laid down their arms – an outcome not often seen in Thrones warfare. And, although this ceasefire is short-lived, seeing the Lannister soldiers toss aside their swords after an intense stand-off with Dany’s army, is a neat little subversion of expectations that comes at just the right point in the episode’s overall flow. It’s also incredibly satisfying to see the great house Lannister finally falter after spending so much of the series as the pervasive antagonist, who always seemed to stay one step ahead of the Starks, and I’m not sure if this downfall would have carried the same weight had their army been instantly disintegrated by dragon fire, rather than the gradual, slow burn defeat that we end up seeing, starting with their surrender.

At the heart of the Lannister downfall, though, are the final chapters in the stories of Jaime and Cersei Lannister. Many fans were likely disappointed when they learned that Jaime was returning to King’s Landing to save Cersei, rather than to kill her. And after the character growth that Jaime experienced with Brienne during his time at Winterfell, it’s easy to feel cheated out of the full-fledged Jaime redemption arc that the show was seemingly leading up to for several seasons. But, just like death, taxes, and if you’re into that sort of thing, Thanos, Jaime and Cersei’s relationship is inevitable within Game of Thrones; and although it’s not the outcome that many predicted, the final scene between Cersei and Jaime, with the world falling all around them and The Rains of Castamere building to a crescendo in the background, is one of the most touching moments of the entire series, and a solid send-off for two of the show’s core characters.

(Photo Credit: HBO)

Of course, this isn’t the only Lannister farewell in this episode, as brothers, Jaime and Tyrion, both share their final scene together on the eve of the battle of King’s Landing. It’s made clear throughout the series that Jaime is the only family member who’s ever actually cared for Tyrion, but the significance of this love has never been truly established up until now. Before freeing Jaime from captivity, Tyrion indirectly admits that he probably would have taken his own life as a child were it not for Jaime. The idea that Jaime’s kindness alone prevented Tyrion from committing suicide is perhaps a bit too simplistic, which even Jaime himself acknowledges. But, it’s still a moving scene between two of the show’s most beloved characters and strongest actors. Relationships in Game of Thrones that have held strong throughout the entire series are rare. And, as one of the few pairs of brothers left in the show, I don’t mind if they get an unrealistically uplifting end to their storyline, especially when so much of the show’s endgame feels fraught at this point.

Unlike the Lannister’s, not every major character gets a satisfying narrative, and the writers’ decision to have Daenerys go full “Mad Queen” could be the biggest black mark of not only this episode, but of the entire series. Personally, I’m not that bothered by what some see as an abrupt shift in character development. The show has been gradually guiding Daenerys down this path since season one, and if you don’t believe me, go back and watch some of those earlier episodes, and tell me that the same woman who vowed to “lay waste to armies and burn cities to the ground” (Season 2, Episode 4), and executed hundreds of slavers on practically day one of arriving in Meereen (Season 4, Episode 4) isn’t also capable of conquering an enemy city with the same exact ruthlessness that she used to consolidate all over her power to begin with.

(Photo Credit: HBO)

“But, Garrett,” you must be thinking, “this isn’t just some third string bad guy, like Euron Greyjoy, crashing the party at the last minute. This is Khaleesi for crying out loud! Daenerys Targaryen, the First of Her Name, Queen of the Andals and the First Men, Protector of the Seven Kingdoms, and the Mother of freaking Dragons! She’s one of the good guys! How in the world can this possibly make sense?” To which I would reply, you’re absolutely right. For as many clues as the show subtly sprinkled throughout earlier seasons, hinting at this eventual outcome, Daenerys has always been one of the good guys. Always. From any literary analysis perspective, Dany is a protagonist. Now, do all protagonists stay protagonists? Of course not. But this kind of transition takes time, and with condensed episode orders for both seasons seven and eight, it feels like the show didn’t have enough runway to organically build up to this conclusion in a satisfying way. As interesting as subverting expectations can be (and I’d argue that Thrones hasn’t done enough of that lately), watching Dany, a character so universally popular that adults literally name their human children after her, start burning innocent men, women, and children alive just feels…wrong, like, morally wrong. And for a show featuring as many morally questionable things as Game of Thrones, that’s certainly saying something.

Game of Thrones Season 8, Episode 4 Review: 'The Last of the Starks'

(Photo Credit: HBO)

Game of Thrones 

Season 8, Episode 4 

By Garrett Yoshitomi 

@garrettweets 

“The night is dark and full of terrors.” Or, full of fan backlash and critical malaise, if you’re season eight of Game of Thrones. After a strong start to its final season, Game of Thrones finds itself in worse shape than Dany’s dragon, Rhaegal, as the show concludes its worst two episode stretch in series history. ‘The Last of the Starks,’ which many consider to be the worst Game of Thrones episode ever, has unceremoniously seen its Rotten Tomatoes score drop below 60%, giving the show its second ever “Rotten” episode, since ‘Unbowed, Unbent, Unbroken’ in season five. Overall, season eight currently has the lowest Rotten Tomatoes score of the series, and even with a perfect ending will probably remain the worst-reviewed season of Game of Thrones. 

This week’s episode isn’t all terrible, however. There is some very narratively important character development that takes place; however, these storylines do feel rushed, and the episode probably would have been better served had it given these character arcs more room to breathe. As it stands, the slow pace of those table setting episodes from the beginning of the season are starting to look like a misallocation of precious screen time, as the show is very clearly running out of runway for many of its important plot points. 

(Photo Credit: HBO)

After the surprisingly abrupt end to the war with the Night King, the remaining three episodes of season eight shift their focus to the battle for the Iron Throne. However, while Dany’s narrowed her sights on Cersei as the only obstacle to her ascendancy, another threat to her rule appears to have manifested from an unexpected place. In the aftermath of the Great War, it’s Jon, not Dany, who delivers a galvanizing speech to honor their fallen comrades. And, when Winterfell is filled with the cheering of victory and clinking of goblets, it’s Jon at the center of it all, while Dany looks on, alone. Now that Daenerys knows Jon’s true parentage, she no longer sees his effortless ability to sway others to his side as just an attractive personality trait, but rather, as a direct threat to her claim to the Iron Throne. Dany feels so threatened in fact that for the first time ever she begs someone for help, imploring Jon to keep his true heritage a secret, so that her rule remains unencumbered in the eyes of the realm. However, by episode’s end, the seeds of doubt have already been sewn, with Varys and even Tyrion, to an extent, acknowledging and accepting Dany’s fatal flaws as a leader. 

Since arriving in Westeros at the start of season seven, Daenerys has been losing allies at an alarming pace. The past two episodes, specifically, have been a crushing blow to her forces, leaving her with few supporters and even fewer friends. But, unlike Jon, who turned enemies into allies with the Wildlings, and regained the support of the North after his heroics in the Battle of the Bastards, Dany hasn’t been afforded the same kind of loyalty, even though her army was largely responsible for giving the North a fighting chance against the Night King. While Dany was able to build her forces from essentially nothing, it appears that the same kind of mechanisms that allowed her to rise to power in Essos will not work in Westeros. There are no slave armies, like the Unsullied, to free within the Nine Realms, and after her execution of Randyll and Dickon Tarly, it’s clear that burning her enemies alive will not result in the same undying fealty that she earned from the Dothraki, when she burned the Khalar vezhven to the ground in season six. 

(Photo Credit: HBO)

Perhaps more troubling than Dany’s struggle to gain new supporters, is her unwavering thirst for power and ruthless approach to conquest – two traits that are generally ill-fitting for a would-be benevolent ruler. As I mentioned in my review of the season premiere, Daenerys has always had a bit of a cruel streak (something that’s very reminiscent of her late father, the Mad King), and her initial tendency to react with violence has long been a source of concern for her advisors and allies. Varys, specifically, takes issue with Daenerys’ uncompromising desire to ravage King’s Landing, and essentially withdraws his support from the dragon queen in a short, yet pivotal, scene with Tyrion. Varys recognizes the negative similarities between Dany and the merciless rulers he’s served in the past. And, it is true that for all her talk of “breaking the wheel,” Dany is driven by the same lust for power and misguided notion of destiny that’s motivated so many tyrants before her. 

Varys is also quick to point out the contrast between Dany’s need for power and Jon’s indifference towards ruling; and that paradoxically, this aversion to the throne actually makes Jon the ideal monarch, rather than Dany. Unlike Daenerys, who sees the Iron Throne as her destiny, and takes any measure necessary to achieve this goal, Jon acts based on what’s best for his people, even if that means sacrificing some of his own gains for the greater good. Back in the season premiere, Sam asked Jon, of Dany, “You gave up your crown to save your people. Would she do the same?” At the time, I called this clever one-line synopsis of the difference between Jon and Dany, the quote of the season. But, with the way the finale of Game of Thrones is shaping up, this could very well end up being the quote of the series. With just two episodes left to go, the answer to Sam’s question will likely shape the outcome of the entire show. 

(Photo Credit: HBO)

And therein lies the core cause for so many of the problems fans and critics seem to be having with this final season of Game of Thrones. Pivotal, series-altering plot points should not be established so late into the game. Yes, I understand that the show has been hinting at eventual friction between Jon and Dany, ever since the writers dropped the Aegon Targaryen bomb at the end of season six. But, up until the second episode of this season, Jon’s true parentage never entered into the wider narrative in a very meaningful way, and there’s simply been too much going on to give this central storyline the kind of contrivance-free attention it deserves. 

The patient, purposeful storytelling that Game of Thrones introduced to us eight years ago is long gone, only to be replaced by an accelerated narrative with too many chess pieces and not enough spaces to move them across. Between the Battle of Winterfell, and now the upcoming fight between Dany and Cersei, season eight has been chock-full of storylines that should arguably be getting an entire season of build-up to themselves. Instead, these critical plotlines have been lumped together into one shortened season, putting a strain on their individual screen time, as well as what time is left for the only storyline that should really matter at this point, the political and emotional entanglement between Jon Snow and Daenerys Targaryen, or in other words, a literal song of ice and fire.