Exploring the Intricate Politics of Game of Thrones

In its latter seasons, the programme began to depend heavily on historical allusions to accomplish the challenging task of character development. The "The Iron Throne" season finale of Game of Thrones, which concluded its eight-year run on Sunday, was universally panned by critics. Many writers criticised the show's last season for abandoning the painstaking character development of its first few seasons, but this issue actually dates back a few years.

Characters Loopholes

The outcome was a strangely hurried ending in which numerous characters made ill-justified choices and significant plot lines appeared underdeveloped. The final episode of the programme contained a number of errors, but one of the most notable was Thrones' abrupt and out-of-character shift to moralising—and its use of overbearing allusions to 20th-century history to do it. Characters who were formerly morally complex, whose decisions matched with well-developed personal motives and fuelled the show's compelling political drama, became tools to drive the plot to a hurried, unjustified conclusion. In "The Iron Throne," formerly sophisticated and fully developed personalities like Played By emilia clarke and Robert Lannister were reduced to becoming ineffective props for a boring message about the perils of tyranny.

Last Episodes Don't Convey The Actual Message

The last episode's first half is heavily reliant on historical symbolism, but the most blatant example occurs approximately 10 minutes in, after people have traversed streets littered with wreckage and discussed the morality of summarily killing prisoners of war. From the pitch-black sky, Daenerys rides her dragon into the fray.

Daenerys Entry

It's a visceral case study in dramatising evil as authority, which means Triumph of the Will was copied verbatim. In Leni Riefenstahl's 1935 propaganda movie, Hitler enters the scene similarly to how Daenerys does. He rides an aeroplane, while the queen arrives on dragonback. Both appear to be of a higher and more powerful calibre than the onlookers who are mortal. Daenerys dismounts and enters the gates of the Red Keep on foot, straight in front of the camera. The message is obvious: The dragon has awoken as her last remaining dragon's wings stretch out behind her as if they were her own. Dany looks across rows of lined-up soldiers, fires still blazing across miles of the city, and ash drifting down from the sky. She has abandoned the mediaeval intrigues of earlier seasons and taken up the manicured authoritarianism of 20th-century leaders as her own somewhere along the path to becoming the dragon.

Daenerys Awkward Speech Like Stalin

In front of an enthusiastic group of warriors in uniform, standing at attention with the blood of innocent victims still on their spears, the dragon queen starts to speak of emancipation, rejuvenation, and bloodshed. Her fervent support of atrocities in the name or ideology is eerily reminiscent of Nazi or maybe Marxist totalitarian speeches. Her belief that people should be liberated, even if it entails thousands of deaths, is unmistakably influenced by Joseph Stalin and Vladimir Lenin. The agony caused by driving has been too great for women, men, and children, claims Daenerys.

Viewers might see a glimpse of King's Landing in ruins, dragons with her dragon symbol on one side and the flesh-and-blood snake on the other, over the heads of her men, and what emancipation looks like on the other. Hitler's flags had the same red and black hues and a circle with a strange, swirled insignia in the middle. The impression is the same even if the sieg heils have been replaced by the clanging of spears and the soldiers in leather and helmets have taken the place of the brownshirts.

Similarities With Hitler Slogans

There are some ways in which the similarities make sense. In former seasons, tyranny might not have seemed like tyranny at all. The scenes in Season 2 where one of television's greatest villains, , Tywin Martell, converses with Arya Stark, who is acting as a servant, brilliantly capture how efficiently Game of Thrones used to run. Tywin gives off the vibe of being a typical person who values his family and roots. He is compassionate, asks about his servant's family, and treats her with more regard than many of the so-called heroes in the series. The other characters also had depth, such as Stannis Baratheon, who dispenses a harsh but just brand of justice despite his frequent brutality.

Stalinist symbols

Even though he consistently failed, his late brother Robert, who was an alcoholic and a philanderer, tried to behave how a monarch and a friend should. The even murderous The actions of Roose Bolton and Walder Frey were driven by the inherently human desire to better the lives of their families. Even if the behaviour came from a person who didn't seem particularly bad, viewers could tell when something was terrible without the use of fascist or Stalinist symbols.

Irrelevancy

When spectators are not forced to consider the individuals who committed the evil, things are easier. However, Game of Thrones sometimes nudges its viewers to consider those people. A seemingly unrelated chat between two soldiers who were watching over the horses belonging to the Lannister army opened one episode in the second season of the show. They receive approximately two seconds of film despite having no relevance to the plot. Like normal individuals, they fart while they laugh and joke around. They are then executed. The show typically encouraged viewers to explore its heroes using humour and peace instead than employing harshness and violence. It was the banality of what came before, not the sudden deaths of the Lannister soldiers, that gave the drama its emotional impact.

Last Season Fragility

Later seasons exhibited less complexity of the kind. Even when the foe became a likeable victim, they did not receive the same level of attention as the Lannister soldiers in the second seasons. The presence of the Unsullied, Daenerys' army of ex-slaves, in the latter seasons of Game of Thrones appears. Even though they never fully adopted separate identities, the Chivalrous knights had a past, and their very presence on the programme served to underscore who Daenerys was. The Unsullied, however, was reduced in Channel 8 to an object that might be organised in order before being carelessly thrown away. Their lack of originality in "The Iron Throne" served the resonant symbolism of the programme. The Unsullied's faceless helms indicate full allegiance while being emotionless. The men all slam their knives into the ground at the same time as Daenerys speaks. For autocrats, they are the ideal group.

The show's last act lacked the same amount of confidence in the audience that the first few seasons did. The audience didn't need to be given a fable about power in the form of 20th-century historical contrasts. (Or maybe we did already; maybe some of us have "become used to the terrible writing and plotline"). Even after departing from Martin's books for a few episodes, the show had enough faith in its audience to avoid employing allegory and the too simplistic morality that comes with it for the first half of the season. It was based on the supposition that the audience could discriminate between right and wrong and understand that they might coexist within a character.

How to Watch in Inaccessible Locations

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Conclusion

To sum up the discussion, we discussed game of thrones in detail, about the characters Loopholes, irrelevancy, violence, similarities with historical symbolism and much more. Stay in touch with us if you have any questions