Game of Thrones’ Final Season Was a Frantic Mess
The image of Daenerys Targaryen’s massive armada sailing to Westeros at the end of season six ended up being the high point of her time on the series. After spending years building her up as the apex player destined to “break the wheel,” seasons seven and eight largely focused on tearing her back down, slowly eating away at her army until her opposition established a believable sense of equal footing. Dany may have taken King’s Landing with brute force, but her cause was lost with waiting, heeding Tyrion’s advice not to sack the capital at the expense of most of her original Westerosi allies.
Season eight sought out to complete Dany’s downward spiral, along with defeating the White Walkers and providing satisfactory conclusions for many of the show’s large ensemble. All in six episodes, a choice made by creators David Benioff and D.B. Weiss. To call this season rushed would be an understatement.
The first two episodes largely concerned themselves with table-setting for “The Long Night.” Episode two, “A Knight of the Seven Kingdoms,” stands out as one of the best of the series for its focus on the complex relationships between the many characters, an immensely satisfying episode that functioned as a bit of a finale in its own right. The calm pace of the first two episodes contrasts with the frantic nature of the final two, which barely took a moment to breathe, more than understandable given how much needed to be done before the end.
A six-episode season was never going to be enough to wrap up such a complex series, but a bigger issue was the fact that the show dedicated half its final run to an underwhelming villain who didn’t even factor into the endgame. The White Walkers may have been a presence in the show since the first episode, but the underwhelming battle of Winterfell failed to reflect the Night King’s billing as an arch villain. Considering how rushed the final three episodes felt, it’s clear that the Night King should have been disposed of last season, giving the show a bit more wiggle room to focus on its endgame.
The first four episodes all built up a feud between Daenerys and Sansa that ended up pretty much going nowhere. You could argue that Sansa’s feelings toward Dany helped turn Jon, Tyrion, and Varys against her, but the Northern territorial disputes were hardly needed in that regard. Dany’s burning of King’s Landing superseded any of the peripheral politics.
The show struggled to portray Jon and Dany’s relationship, complicated by a few reasons. Putting aside the incest, Kit Harrington and Emilia Clarke didn’t have much natural chemistry, exacerbated by the show’s reluctance to give them scenes alone together. Jon’s stabbing of Dany made for beautiful cinematography, but the gravity of the moment failed to accurately reflect the underdeveloped nature of their relationship.
For a show ostensibly about the mechanics of power, the idea of having Bran end up on the show is complicated to say the least. His abilities helped turn the tide of the Battle of Winterfell, but the three-eyed raven stayed out of the conflict in King’s Landing. We don’t know if he made the decision based on the knowledge that he’d become king, but we don’t necessarily need to in order to recognize that a monarch shouldn’t possess that kind of absolute power.
The finale acknowledged Tyrion’s mistakes, suggesting he’d spend the rest of his life fixing them, but such a “punishment” perhaps fails to truly acknowledge his role in Dany’s decline. It’s hard to find a single moment in his time as Dany’s Hand where he offered good advice. Why would he be rewarded for such incompetence?
Cersei felt weirdly irrelevant for too much of the season. For all the excellent villains we’ve seen on the show over the years, Cersei has always been the best. The show made the right move placing her as the final big bad over the Night King, but it didn’t give her many opportunities to shine. Instead, she mostly stood around giving orders and not doing much else with her time. The show’s finest manipulator of politics sat on the sidelines for its final stretch, perhaps the strongest encapsulation of the issues with season eight.
The show did offer satisfactory conclusions for many of its key characters, including Arya, Sansa, Brienne, and Jaime. “A Knight of the Seven Kingdoms” worked so well for its focus on characters and not on moving the plot forward a mile a minute. We spent almost a decade with these people. The final season had its share of payoff for that investment, but it was constantly undercut by the rapid nature of the plot.
Finales are difficult to pull off under any circumstance. TV is generally much better at maintaining the status quo than concluding it. With so many loose strands heading into season eight, it seems unlikely that four more episodes would have been able to wrap things up much better than six did. That doesn’t really change the fact that this season spent much of its time poorly, a product of needing to do too many things at once.
Season eight made the regrettable mistake of giving half its time to an underwhelming villain at the expense of the characters who made the show special in the first place. For all the ways this series has felt larger than life over the years, becoming a worldwide phenomenon, its conclusion constantly felt unnecessarily rushed. These characters deserved better.