It wasn't all wheel-spinning, of course: The pairing of Jon and Daenerys was a series-defining inevitability (even if their courtly flirtation lacked the sparks of earlier romances). Cersei patrolled the Red Keep's corridors, and Dany stood at Dragonstone, and Jon Snow sailed south and north and south again. By focusing so much energy on eliminating some players, the show seemed to be biding time with the all-important Lannister-Targaryen-Stark trio. The shrugging reaction to the latter death sums up this season's flaws, unfortunately. Season 7 practically made an episodic game out of killing whole Great Families of Westeros, starting from the minute-one assassination of House Frey and climaxing with the demise of the freaking Lord Protector of the Vale. And there's no question that a lot happened in the most recent sequence of episodes – even if a lot of substantive plot stuff seemed largely dedicated to lesser players in the great game. Thrones followed The Sopranos, Breaking Bad, and Mad Men in the grand tradition of TV-drama phenomena that wrap up with two "half-seasons," and it's possible that the elaborate table-setting in season 7 will pay off (immediately and spectacularly) in season 8. Unfair, maybe, to rank the penultimate batch of episodes as a genuine season. Will history be kind to the violent twists that ended Thrones? Ask me again in 10 years.
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Writing this right now, one day after the series finale, season 8 feels like a monument to flawed ambition and flailing Peak TV decadence, all massive battle scenes and brainless strategy. There’s an odd lack of balance underpinning this last season: Three hours spent on the build-up to the showdown with the Night King, but Daenerys decides to annihilate King’s Landing on what feels like a spur-of-the-moment decision. And the hook-up between Jaime and Brienne felt like a reductive moment for a fascinating double act. The final season of Thrones definitely lost track of too many key characters, banishing Cersei and Sansa to looming-authority C-plots. Then came the scalding of King’s Landing, a major final-act twist that inspired loud debate. First came the battle with the Army of the Dead, a fatality-heavy long night in Winterfell that became immediately infamous for some rather poor lighting decisions. The final six episodes aimed for a double shot of epic-showdown catharsis.
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Season 5 never quite figured out how to make drama out of bureaucratic stasis, and so every season since has seemed like an eventful counter-reaction. The rest of the season can't compare, unfortunately, the occasional Dragon cameo aside. There's a standout episode here, barely essential but wondrous to behold: The unexpectedly epic "Hardhome," which adapts a distant skirmish from the books into death-metal glory. Years past his prime, poor terrible Stannis tries to do something. In the post-Tywin King's Landing power vacuum, a new strain of religious fundamentalism adds a curious new quirk to Westerosi courtly politics. In positions of authority, Jon and Dany struggle to keep various factions united. Requiring a near-total reboot in the wake of season 4's wondrous calamities, Thrones began its second half with its characters embedded in frustratingly unfantastical perils. She screams.Sand Snake jokes aside, a serious scholar could find a lot to praise in the show's least-loved season. “Alysanne Lannister, daughter of Tywin and Joanna Lannister.” Then someone says something that tears her whole world apart. All of her once pained, yet, it had numbed down and Sansa feels nothing anymore. She was not expecting to be reunited with her family, the old gods know that she has committed enough evil to be condemned, but it still takes her off balance to see nothing she can understand. Graphic Depictions Of Violence, Major Character Death.Martin, Game of Thrones (TV), A Song of Ice and Fire & Related Fandoms ElianSolaria Fandoms: A Song of Ice and Fire - George R.