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                                           The end of  "Game of Thrones": Top or Flop? (Picture: HBO)



 The time has come: On TV, the very last episode of "Game of Thrones" aired. Millions of viewers around the world are debating the ending-and our editors didn't miss the finale either. You can find out what they think of the fantasy series after the last episode.

 Attention, spoilers: The following texts reveal important details of the plot!

 At the end of  "Game of Thrones ": A (too) brief history of time
By Carlos Corbelle

 The eight Seasons somehow passed very quickly. It was nice in its first seasons: "Game of Thrones" was for years a teaching piece of political power plays, carefully-constructed fantastic, and particularly bloody weddings. Relentless, unpredictable. And even if it gets nasty in the original sense of the series-"GoT" is the best thing I've had in the cinema or TV so far in high fantasy (sorry, Peter Jackson)-despite the disappointments towards the end.

 The problem recently summed up literary critic Denis Scheck-he reads and he knows things-in  "Druckfrisch":  "One can think of a more apt spotlight on the culture of infantile consumerism, which is based on the immediate satisfaction of their needs Persist? , "Scheck asked, in view of the fact that the series has now been completed, while the novel template, which began in 1996, still makes" A Song of Ice and Fire  "by George R.R. Martin wait for the two final books.  "The main thing, the checkout is right and the series comes to an end on time. "

 That's exactly, unfortunately, unfortunately, one of the big weaknesses of the disappointing last season: The lack of time. The long breath through which the series bribed over many Seasons gave way toward the end of an intensification that made certain developments no longer plausible and allowed once-crucial storylines to run into the sand. The annoyances in the fast run: The totally untraceable Jon-Sis is-back-from-the-dead-stunt (worst series resurgence since Bobby Ewing in "Dallas"), the completely implausibly portrayed romance between Jon and Daenerys, the literal puff of the eight-built Night King threat for years and finally: The Mother of Dragons "instant evolution into the Mother of Carnage. Daenerys has always been an ambivalent character, though somehow intent on justice, but politically brachia-aristocratic rather than a social democrat. So her development as a tyrant became apparent and could consequently have been at the end of a long road-foolishly, however, due to the lack of time, the whole thing had to be brought about shortly before the end of the crowbar.

 And then there's the tone of the series, the laconic sound of a sinister, relentless world that sounded increasingly alien to the end-not completely different, but somehow slightly askew. So was the final episode: When Jon drills his dagger in Daenerys in the finale while kissing her, it doesn't seem tragic, but cheesy. When Tyrion muses about the importance of a good narrative (oh, sweet irony), it doesn't seem profane, but pathetic. And when Samwell delivers a postmodern thigh knocker with his absurd idea of a democracy, you don't get rid of the uneasy feeling that right Asterix is coming round the corner. The show's once so relentless attitude gives way to oddly-seeming sentimentalities, the chaos winged by Daenery-y-'s dissipates into favor within minutes. Just before the end, everything is nicely placed where it belongs: Sansa becomes queen of an independent north, Arya sets out to experience new fun adventures and with Bran finally a reasonable king reigns over the remaining realms (what the Night King wanted from him all the time, on the other hand, went unanswered until the very end). Westeros never seemed more romantic-and implausible.

 Perhaps it was because of the lack of blueprint that the first five novels of "GoT" creator George R.R. Martin offered before the series rushed away from the books. In the end, the series is also a reminder to all those who constantly urge Martin to break the outstanding stanzas of his carefully composed song of ice and fire faster. And of course, to all those who like to deal with dragons and others of sending weapons of mass destruction in the end only leads to fierce Valar Morghulis.
                                     Tyrion muses towards the end about the importance of a good narrative. (Picture: HBO)



It was (almost) no longer possible

 A lot of people would be disappointed, Kit Harington oracled over the "Game of Thrones" grand finale before the season eight kicks off. He would probably have been right about any possible outcome, and surely some will be latently dissatisfied to unfathomably angry about the end. For them, too, Harington has a fitting quote ready: "They can me."

 Yes, it would have been nicer if the producers had given us one, two episodes more time to convince even the last that Arya was the right choice to kill the Night King- a silent assassin who outsmarts the Night King instead of in a duel with him in Angert to fall. That it was absolutely consistent that Cersei would be buried under the ruins of his own wrong decisions rather than being killed by Arya for an event from the first season. And that those who didn't see Daenerys ' sinking flight into madness coming just didn't really fly.

 Then perhaps there would have been more than a brief conversation after the long night to explain Tyrion's sudden choice of king. And yes, you need a moment to recover from that twist. Those who lament the fast pace of the last season after ten years of invested time and emotion are, of course, right.

 Why it became six episodes and not eight or 10 remains incomprehensible. But have the creators succeeded in bringing the narrative to a coherent end? absolute! No matter who would have ended up sitting on the throne-or even on the royal wheelchair-you always had to swallow first. But what really would have changed with the overly cunning and power-hungry Sansa or the easily manipulated Jon? Only with Bran, who now has the wide-eyed Tyrion and the kind-hearted Sam by his side, will the wheel actually be broken. In the end, everything will not be much, but it is decisive, different. Making Sam's timid suggestion of a democratic election a reality would have been a narrative disaster-such a glimmer of hope on the horizon a liberation blow.

 An almost satisfying ending is the best I could hope for with the immensely high expectations. For who that-coupled with strong moments like Sansa as the rightful Queen of the North, Tyrion cording on with Davos and Bronn, Arya sailing smiling into the unknown, or Brienne proving true to her great love with one final favor-doesn't at least almost satisfied, he knows what he can do thanks to Harington.
                                                                These three Starks persevered until the end. (Picture: HBO)

With momentum against the wall

 That David Benioff and D. B. Weiss are racing the final season of "Game of Thrones" against the wall with so much momentum was not expected even after an already wild seventh season. As much as the series has won again in terms of image violence and aesthetics, so much and even more it has lost on the story and its actual character.

 Fan service, plot armor, and hair-raising script errors are not things that a few noble nerds are bothered about, but about which a large proportion of fans rightly chime. Without a book as a template, "Game of Thrones" went from a never-computable, perfectly told fantasy epic to a predictable special effects spectacle whose strength, in the end, was no longer characters and narrative style, but the staging of dragons, Ice zombies and devastated cities. A show that clopped cautiously and years of character and relationship developments into the barrel for time and even indebted screenwriting reasons. The entertainment was, but nothing more.

 This all culminated in a final season and final in a final episode that the shards of that development could not turn up but, even worse, caused new ones. Logic and an in-live-centered-are what makes a story credible, which draws you in, captivates. The final episode, "The Iron Throne," did what nearly all the episodes of the closing season did: She threw one out of history, constantly. With so many logic errors and inconsistencies, with so many lovelessly handled and rushed narrative strands, you could write your own article about it.
"Game of Thrones" has provided the best and most iconic episodes and seasons in TV history. With that ending, the makers didn't break the show's legacy but missed him a neat dent.

Finale of "Game of Thrones ": This is what our editors say at the end of the series


                                           The end of  "Game of Thrones": Top or Flop? (Picture: HBO)



 The time has come: On TV, the very last episode of "Game of Thrones" aired. Millions of viewers around the world are debating the ending-and our editors didn't miss the finale either. You can find out what they think of the fantasy series after the last episode.

 Attention, spoilers: The following texts reveal important details of the plot!

 At the end of  "Game of Thrones ": A (too) brief history of time
By Carlos Corbelle

 The eight Seasons somehow passed very quickly. It was nice in its first seasons: "Game of Thrones" was for years a teaching piece of political power plays, carefully-constructed fantastic, and particularly bloody weddings. Relentless, unpredictable. And even if it gets nasty in the original sense of the series-"GoT" is the best thing I've had in the cinema or TV so far in high fantasy (sorry, Peter Jackson)-despite the disappointments towards the end.

 The problem recently summed up literary critic Denis Scheck-he reads and he knows things-in  "Druckfrisch":  "One can think of a more apt spotlight on the culture of infantile consumerism, which is based on the immediate satisfaction of their needs Persist? , "Scheck asked, in view of the fact that the series has now been completed, while the novel template, which began in 1996, still makes" A Song of Ice and Fire  "by George R.R. Martin wait for the two final books.  "The main thing, the checkout is right and the series comes to an end on time. "

 That's exactly, unfortunately, unfortunately, one of the big weaknesses of the disappointing last season: The lack of time. The long breath through which the series bribed over many Seasons gave way toward the end of an intensification that made certain developments no longer plausible and allowed once-crucial storylines to run into the sand. The annoyances in the fast run: The totally untraceable Jon-Sis is-back-from-the-dead-stunt (worst series resurgence since Bobby Ewing in "Dallas"), the completely implausibly portrayed romance between Jon and Daenerys, the literal puff of the eight-built Night King threat for years and finally: The Mother of Dragons "instant evolution into the Mother of Carnage. Daenerys has always been an ambivalent character, though somehow intent on justice, but politically brachia-aristocratic rather than a social democrat. So her development as a tyrant became apparent and could consequently have been at the end of a long road-foolishly, however, due to the lack of time, the whole thing had to be brought about shortly before the end of the crowbar.

 And then there's the tone of the series, the laconic sound of a sinister, relentless world that sounded increasingly alien to the end-not completely different, but somehow slightly askew. So was the final episode: When Jon drills his dagger in Daenerys in the finale while kissing her, it doesn't seem tragic, but cheesy. When Tyrion muses about the importance of a good narrative (oh, sweet irony), it doesn't seem profane, but pathetic. And when Samwell delivers a postmodern thigh knocker with his absurd idea of a democracy, you don't get rid of the uneasy feeling that right Asterix is coming round the corner. The show's once so relentless attitude gives way to oddly-seeming sentimentalities, the chaos winged by Daenery-y-'s dissipates into favor within minutes. Just before the end, everything is nicely placed where it belongs: Sansa becomes queen of an independent north, Arya sets out to experience new fun adventures and with Bran finally a reasonable king reigns over the remaining realms (what the Night King wanted from him all the time, on the other hand, went unanswered until the very end). Westeros never seemed more romantic-and implausible.

 Perhaps it was because of the lack of blueprint that the first five novels of "GoT" creator George R.R. Martin offered before the series rushed away from the books. In the end, the series is also a reminder to all those who constantly urge Martin to break the outstanding stanzas of his carefully composed song of ice and fire faster. And of course, to all those who like to deal with dragons and others of sending weapons of mass destruction in the end only leads to fierce Valar Morghulis.
                                     Tyrion muses towards the end about the importance of a good narrative. (Picture: HBO)



It was (almost) no longer possible

 A lot of people would be disappointed, Kit Harington oracled over the "Game of Thrones" grand finale before the season eight kicks off. He would probably have been right about any possible outcome, and surely some will be latently dissatisfied to unfathomably angry about the end. For them, too, Harington has a fitting quote ready: "They can me."

 Yes, it would have been nicer if the producers had given us one, two episodes more time to convince even the last that Arya was the right choice to kill the Night King- a silent assassin who outsmarts the Night King instead of in a duel with him in Angert to fall. That it was absolutely consistent that Cersei would be buried under the ruins of his own wrong decisions rather than being killed by Arya for an event from the first season. And that those who didn't see Daenerys ' sinking flight into madness coming just didn't really fly.

 Then perhaps there would have been more than a brief conversation after the long night to explain Tyrion's sudden choice of king. And yes, you need a moment to recover from that twist. Those who lament the fast pace of the last season after ten years of invested time and emotion are, of course, right.

 Why it became six episodes and not eight or 10 remains incomprehensible. But have the creators succeeded in bringing the narrative to a coherent end? absolute! No matter who would have ended up sitting on the throne-or even on the royal wheelchair-you always had to swallow first. But what really would have changed with the overly cunning and power-hungry Sansa or the easily manipulated Jon? Only with Bran, who now has the wide-eyed Tyrion and the kind-hearted Sam by his side, will the wheel actually be broken. In the end, everything will not be much, but it is decisive, different. Making Sam's timid suggestion of a democratic election a reality would have been a narrative disaster-such a glimmer of hope on the horizon a liberation blow.

 An almost satisfying ending is the best I could hope for with the immensely high expectations. For who that-coupled with strong moments like Sansa as the rightful Queen of the North, Tyrion cording on with Davos and Bronn, Arya sailing smiling into the unknown, or Brienne proving true to her great love with one final favor-doesn't at least almost satisfied, he knows what he can do thanks to Harington.
                                                                These three Starks persevered until the end. (Picture: HBO)

With momentum against the wall

 That David Benioff and D. B. Weiss are racing the final season of "Game of Thrones" against the wall with so much momentum was not expected even after an already wild seventh season. As much as the series has won again in terms of image violence and aesthetics, so much and even more it has lost on the story and its actual character.

 Fan service, plot armor, and hair-raising script errors are not things that a few noble nerds are bothered about, but about which a large proportion of fans rightly chime. Without a book as a template, "Game of Thrones" went from a never-computable, perfectly told fantasy epic to a predictable special effects spectacle whose strength, in the end, was no longer characters and narrative style, but the staging of dragons, Ice zombies and devastated cities. A show that clopped cautiously and years of character and relationship developments into the barrel for time and even indebted screenwriting reasons. The entertainment was, but nothing more.

 This all culminated in a final season and final in a final episode that the shards of that development could not turn up but, even worse, caused new ones. Logic and an in-live-centered-are what makes a story credible, which draws you in, captivates. The final episode, "The Iron Throne," did what nearly all the episodes of the closing season did: She threw one out of history, constantly. With so many logic errors and inconsistencies, with so many lovelessly handled and rushed narrative strands, you could write your own article about it.
"Game of Thrones" has provided the best and most iconic episodes and seasons in TV history. With that ending, the makers didn't break the show's legacy but missed him a neat dent.
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