From the haste to the mistakes, passing through the inconsistencies, here are those that have made the last season of the Throne of swords difficult to digest for some fans
This eighth and final season of Game of Thrones has been accompanied by many criticisms, also and above all by the fans of the first hour, the most attentive and faithful.
In part, let’s face it, it depends on the fact that when a series lasts so long, everyone gets their ideas on the ending and risks being disappointed when those ideas don’t turn into reality. Moreover, social networks have shortened the gap between the public and creators, and the result is that more and more often the former becomes annoyed and points to his feet when he does not feel satisfied by the latter. A sign of this is the petition to turn over the entire eighth season, which clearly does not take into account the reasons why such a thing is impossible.
However, it is undeniable that the quality of writing has fallen dramatically in recent seasons, and the eighth in particular has suffered from inconsistencies, inconsistencies, ingenuity and pure and simple errors.
Closing a huge narrative like Game of Thrones is not easy and we are sure that the writers found themselves faced with challenges unthinkable for us, first of all the duration of the season (only 6 episodes against the usual 10). Some small approximations would have been understandable, but considering the time and budget available, the result could have been much better.
Here we focused on 5 errors of writing of the last season of Game of Thrones. Not to demolish, but to try to understand what went wrong in the last stretch of the most important TV series of the decade.
The turning point of Daenerys is a striking example. It is surprising? Yes. Is it intrinsically senseless compared to what we know about the character, his family, the world of history? No. Yet it has been made meaningless by an inadequate lack of preparation – and no, showing it ruthless in the past, in situations that are perfectly contextualized, is not enough. Daenerys has been hard and violent in the past, yes, but never with innocent people.
Until two episodes before destroying King’s Landing, he put everything, including his own life, at risk to save humanity from Strangers. How can we expect the public not to quibble when, after having already won the war, it suddenly decides to burn hundreds of thousands of innocent people alive? He lost his advisers, yes, but it is not enough to justify such a sudden change, of which among other things he does not even regret. Showing the danger of power and the trap of believing in messianic figures would have been so shocking, but exceptional. Instead it was all so hasty that it made no sense – and The Throne of Swords, even when shocking, had never been meaningless.
2. Badly used characters
If the first seasons gave the impression that the characters were weaving the plot with their actions, the eighth does the opposite: the authors know where they want to go and push the characters in that direction, willy-nilly.
Let’s take Jamie, whose actions in recent episodes seem to conflict with all the evolution of his character. In reality, it is not quite so. Indeed, that after all his journey of redemption he understands that his place is still next to his sister is tragic and romantic, despite everything. The haste, however, has made everything senseless. Within two days Jaime left Cersei, arrived in Winterfell, went to bed with Brienne, left her and returned to Cersei, all without almost catching his breath.
Is that why he says things that make no sense, like “I don’t care about the innocent?” If there is one thing that his personal story shows, it is that he cares about it. But there were also underutilized characters, such as Cersei (it was already where it had to be, so he had nothing else to say, right?), Dulled by necessity, like Tyrion and Varys, or normalized, like Arya who seems to have forgotten to have the superpower to change appearance. But the list would be really long.
3. Internal inconsistencies
Because Tyrion, the most intelligent man of the Seven Kingdoms (now Six) names Mastro of the coinage Bronn, a man without political qualities, without studies or knowledge on the subject and who more than once has shown that he has no concept of loyalty and be willing to sell to the highest bidder? Why the crossbows, who managed to knock down a dragon with extreme ease in one episode, in the next one strictly miss the target? Why did Brienne, who swore to protect Arya and Sansa, stay at King’s Landing? What is Arya still doing there, having escaped with a horse only in the first episode? Why do people of different ranks and roles have the same right to express themselves about the choice of the King? Why didn’t gray worm execute Jon Snow on the spot when he confessed to Dany’s murder? Why did no other region try to gain independence after Sansa did it for the North? They are little things that, together, bring down the credibility of the plot.
4. The weaves of the plot
In English, plot armor is defined as the narrative escamotage for which some characters in a story are safe from its most definitive effects by virtue of the fact that their presence serves the story itself.
Game of Thrones was the series par excellence to disrupt this mechanism, becoming more famous because none of its protagonists seemed safe: every mistake was paid, and dearly.
Missed deaths in particular are annoying. In the last season there are countless situations in which the characters not only do not die, but neither do they report obvious damage, despite the extreme situations in which they find themselves. How is it possible that Sam, among all, survived the Battle of Great Winter? Why, having Tyrion and Daenerys under fire in the fourth episode, Cersei didn’t kill either of them? And Arya, who is practically hit by a blaze of Drogon, escapes from King’s Landing to fire and sword, and gets away with a little blood from his nose? And Jon … well, Jon could run around a battlefield with a target on his back, and he’d get out with his hair still in order.
5. Errors and inaccuracies
They have studded this season. The wrong surname of Gendry (the bastards of King’s Landing are called Waters, not Rivers), the crew of Euron that hears shouting in the background even though we know it is composed of dumb, King’s Landing which is out of the blue in the middle of a desert instead of the sea, Dothraki and Immacolata that continue to be numerous despite having been decimated by the Strangers, a part of the castle of Winterfell destroyed by Viserion, but that in the episode afterwards returns as new, Euron escaping virtually without scratch (there was talk of plot armor …) to a direct attack by Drogon that completely destroyed the nava he was on … not to mention the usual problem that the characters travel distances too fast, the wigs wrong, Starbucks cups and forgotten plastic bottles on stage. Mistakes happen, but all together don’t make a good impression.
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