Disappointing final year of the Game of Thrones was slightly exculpated by the unexpected final. One even wonders whether the final, explained but poorly supported by cinematic means, killing of the Dragon Queen by her lover was the deliberate ploy by Benioff to detract the accusations of complete predictability of the narrative after Season 5. The verdict that "the first victim of the eighth season was the lighting crew" still stands.
It so happens that people aspire to be something, which they are not. Benioff, a great producer--he would not be able to assemble and control this gigantic enterprise otherwise--wrestled creative control from Martin to achieve what? Girls power stories and shutdown of the main storylines to wrap up the story by the Season 8? But he is not alone: Schumann, the great composer aspired to be a piano virtuoso who he was not. Paganini, a virtuoso, aspired to compete with Shopin and Liszt, great artists but also great composers in their own right. Spielberg, the greatest movie entertainer since Charlie Chaplin, wants to make serious movies, which are not his cup of tea.
The main attraction of the Game of Thrones lied in its realistic, i.e. slow tempo, victories and defeats unrelated to a moral "good vs. bad" message, beautiful dialogues and the development of characters on the background of two-and-a-half unrelated but unremitting stories: inevitable coming of the Long Winter, unstoppable march of a new, proselytizing and barbaric monotheistic religion of fire and mysterious cult of god with many faces. This was a nice parallel to the actual later years of the Roman Empire, progressing on the background of the establishment of Christianity, great migrations from Asia into Europe, possibly enabled by the climate change, and religious heterodoxy and confusion during this time.
Previous Game of Thrones reviews
Croup
Loin
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