Large franchises often encounter a pivotal point when a series of ill-advised decisions result in disillusioned audiences that never return. In 2017, we saw this with Star Wars’ The Last Jedi which exercised audacious mockery at its fandom, leading to an instantaneous backlash. Consequently, the subsequent film, Solo, bore the consequences of an audience led from upset to ambivalence.
Has Game of Thrones experienced a similar predicament? The high-fantasy series debuted 13 years ago, drawing even the most reluctant of fantasy enthusiasts into its grasp (though reluctantly at first, as the early negative reviews underscored clichéd stereotypes about geeks and their peculiar pastimes). However, in 2019, it self-sabotaged its own popularity with a concluding season that disfigured beloved characters – Jaime Lannister became a thoughtless servant to his love, Cersei, and Daenerys Targaryen was reduced to an unidimensional, dragon-riding maniac. The unpopular last season was criticised by viewers and cast alike, and presumably by George RR Martin too, were it not for his preoccupation with not completing the Game of Thrones books.
The Westeros brand seemingly found a path to salvation with House of the Dragon (HotD) – a prequel set hundreds of years before the documented events in Thrones. The first season was solid and its coincidental release with the horrendous Lord of the Rings spinoff, The Rings of Power, on Prime Video, was beneficial. One was quintessential fantasy while the other was riddled with unsightly wigs, appalling dialogue and glaring plot devices comparable to the luminosity of Mount Doom’s fire-pits on a clear day.
Now, as we approach the conclusion of the second series of HotD, apprehension grows that we might revisit the grim ending days of Thrones, where even the most dedicated viewers consider surrender. The regrettable issue is that this despair could have been prevented – unlike with Game of Thrones, where the creators were hamstrung by the need to fill in the gaps due to Martin’s unfinished story (Fire and Blood, the source material for HotD, is already published).
The final episode of “House of the Dragon” offered a disappointing conclusion, much like the finale of “Game of Thrones”. Over the weeks, the series had been building up the impending large-scale battle between the two rival factions of House Targaryen – the “Greens” and “Blacks”. The anticipation of a showdown between the two forces, both armed with dragons, was palpable. The fourth episode showcased a jaw-dropping three-dragon fight, boasting some of the most impressive CGI graphics ever seen.
The episode preceding the finale displayed a grand scene where Queen Rhaenyra’s (portrayed by Emma D’Arcy), leader of the black faction, potential dragon riders were terrified of the dragon Vermithor. This particular scene carried a reminiscent touch of the classical ’80s film Dragonslayer. Yet, the engrossing scene left viewers wondering about the forthcoming excitement.
Regrettably, instead of exhilarating moments, the conclusion brought forward great disappointments. It followed the footsteps of “Game of Thrones”, betraying its central characters. Conservative King Consort Daemon (played by a brilliantly overbearing Matt Smith) surprisingly pledged his loyalty to Rhaenyra, after spending his story arc concocting her downfall due to a revelation of the White Walkers’ existence beyond the Wall. Prince Aemond Targaryen also met a similar destiny – transforming from a principled albeit flawed heir in the first year to a one-eyed crazed ruler.
The series concluded with a climactic scene of both factions heading towards war. Yet, there was no sign of Aemond, the insane king who’d declared all Seven Kingdoms would be burnt down if he were to lose his ruling power. This was followed by a fade to black, leaving viewers faced with a two-year wait to discover what ensues next.
It would hardly suffice to refer to this as anything but an immense let-down. After a succession of instalments brimming with unforgettable scenes, it’s rather gut-wrenching to see the Game of Thrones series succumb to the usual blunders by letting its characters down. In 2019, followers were shaken yet willing to offer Thrones another opportunity. A second chance, however, might not be met with the same leniency.