The TV show's finale even got political commentator Ross Douthat to comment:
Two of the most successful completed sagas of the last 20 years, Robin Hobb’s Farseer novels and Tad Williams’s “Memory, Sorrow, and Thorn,” balance political machinations that would be at home in Shakespeare’s histories and larger world stories about the death and life of magic. And the promise of George R.R. Martin’s saga was that it might, in its somewhat pulpy way, offer the most successful integration yet, with a political and social world rich enough to feel like a piece of 14th- and 15th-century history they forgot to teach in school, with a chivalric order breaking down and a commercial and technological order waiting to be born … except that in this world, the dragons and the prophecies and fair folk won’t go gently into the good night.
Martin has not delivered on this promise, of course, because he hasn’t delivered a new novel in his saga in eight long years. But now, in the disappointment with the show’s finale and final seasons, he has an example of what not to do.
In its rush to finish, the show effectively lost sight of both reasons for fantasy’s appeal. The showrunners, David Benioff and D.B. Weiss, seemed bored with and embarrassed by the magical element of the saga, hustling through the supernatural stuff and declining to explain crucial motivations and purposes, in order to get back to the political material … but then their haste also deprived the political plot of its sociological complexity, its ripped-from-the-pages-of-history plausibility, that was necessary to make the horror and catharsis of the early seasons work.
They either didn’t understand what made Martin’s books distinctive, or they found the synthesis of genre elements too difficult once they went beyond his finished books. And so the show’s ending embodied many of the dismissive clichés about fantasy, rather than representing the genre come of age.
A knowledgeable insider I spoke with yesterday provided a different take. He said that DB & D (as people in the industry refer to them) had an entire writing staff who, one assumes, read the Internet. And they also had GRRM in the room. And they had a budget. And they still managed to land the most epic television series in history without crashing the plane.
And what about the books?
Winding up a story takes a lot of effort. Getting one on TV takes even more. I think even the haters will miss this one soon.
On the other hand, next week brings us the Deadwood movie on HBO, Good Omens on Amazon, and...one hopes...summer in Chicago. So I think we'll survive.