Tag Archives: Television

Has Disney Mismanaged Star Wars? Yes and No

Ah to be in 2012 again, when Disney’s purchase of Lucasfilm set off a firestorm of anticipation for new Star Wars content. There actually was a ton of Star Wars content in the pipeline, most of it announced at Star Wars Celebration 2012, and most of it canceled by King Mouse. Almost eight years later, it’s time to assess what the high-pitched, personality-less, mouse-man has done with George Lucas’ most enduring creation.

In 2012, Star Wars was actually in pretty good shape. “The Clone Wars” animated series had established itself as the best received Star Wars property since the Original Trilogy. Del Ray Publishing cranked out an Extended Universe book or two every year. Lucas Arts had just released “The Force Unleashed” series a few years earlier and was deep into production on Star Wars 1313, a game about Boba Fett. The Disney purchase wiped out all three.

What did Disney do with Star Wars? Let’s evaluate.

1. Star Wars Rebels (2014)

I’ve been watching Star Wars Rebels for the first time on Disney Plus. I’m pleasantly surprised by how good it is. It takes the best elements of The Clone Wars and some of the best elements of the Extended Universe and combines them.

The problem? Disney broadcast it on the little watched Disney XD channel. What should have been the triumphant start of Disney’s Star Wars ownership largely met a collective shrug outside of the Star Wars fan base because no one could watch it while it was actually on television.

2. The “New” Books, Comics, etc.

It took twenty years, dozens of novels, comics, and video games to fill in the story of what happened during the thirty years after Return of the Jedi. Instead of taking the best elements of that Extended Universe and incorporating them into the new stories, Disney wiped the slate clean. While this allowed for creative freedom, it also resulted in a rush to fill in the gaps.

I haven’t read very much of the new books or comics or played all the new video games, but some are much better than others. The Battleground games were a dumpster fire, for example, but the new Timothy Zahn Thrawn books have been well received.

The original Extended Universe was often hit or miss as well, so we’ll call this one a wash.

3. Star Wars Episode 7: The Force Awakens

The Force Awakens is a well made, entertaining film. Critics and audiences loved it at the time, and re-watching it a few years later, I find it holds up extremely well. It may not be the most creative film, though, since it borrows heavily from the original Star Wars (Episode 4: A New Hope).

Was it a missed opportunity to borrow so heavily from Star Wars? Did we really need another Death Star? Certainly Disney left some of the creative cards on the table here. In fact, trying to establish a brand new story while at the same time trying to connect to the older story resulted in the Sequel Trilogy’s biggest flaws.

4. Rogue One

Rogue One, also known as “The One Where Everybody Dies,” had production issues, but the final result was a bold, propulsive action movie of the highest caliber. I have no complaints about the film itself.

Rogue One’s success gave Disney too much confidence in it’s strategy to make a “side-quest” movie every other year. Disney couldn’t reasonably expect to pump out a Star Wars movie every year, AND have all of those movies finish in the top ten of the highest grossing films of all time. However, that seems to be exactly what Disney expected.

5. Star Wars Episode 8: The Last Jedi

I’ve defended The Last Jedi for over two years, but even I have to admit that the film is a house of cards. It looks spectacular for the most part, and it certainly contains a new take on Star Wars. It certainly has its champions. In retrospect, however, I think we will grow to see it as the weakest film of Disney’s initial five film output.

Too much of The Last Jedi simply does not work. Leia’s “flying through space” scene should have landed on the cutting room floor for bad shot composition. The Canto Bight detour robbed us of the best character interaction set up by J.J. Abrams: the friendship between Poe and Finn. In exchange, Johnson gave us dumber, more isolated versions of both characters.

The list goes on and on. What we’re left with is a Star Wars bottle episode that feels out of place given what J.J. Abrams did with Episode 9.

6. Star Wars: Resistance

Did you know there’s a cartoon created by the Rebels/Clone Wars team set during the Sequel Trilogy era? I didn’t either until recently. It’s been somewhat well reviewed, and I’ll check it out on Disney Plus. Disney has no excuse for any Star Wars series having such anonymity, I’ll tell you that much.

7. Solo

Ron Howard turned around a hellish production and gave us a solid, enjoyable film. It’s not exactly The Godfather, but it’s fun and pretty damn rewatchable. It also made so little money at the Box Office (relatively speaking compared to other Star Wars movies, it still made a ton), that it killed Disney’s “Star Wars movie every year” strategy. That will serve us well in the future.

8. Star Wars Episode 9: The Rise of Skywalker

Want to piss off the entertainment media? Make a move like Episode 9, apparently. I’ve purposefully avoided reviews and commentary online about this film, but critics can’t help but take pot shots at it even while discussing other topics. I really enjoyed it, and I saw it twice just to make sure. What I like most about it was how heavily J.J. Abrams bought into the high fantasy elements of Star Wars to create a movie that felt big enough to conclude a nine movie epic.

Episode 9 does feel like Abrams cramming two movies into one at times, however, and that was entirely avoidable.

As a completed product, the Sequel Trilogy feels like a push and pull between two filmmakers with wildly different ideas as to what direction to take Star Wars. If J.J. Abrams took too few risks in Episode 7, Rian Johnson took too many in Episode 8.

Watching all three in order, it feels like Johnson throws out everything Abrams set up in Episode 7. Then Abrams throws out most of what Johnson did to do what he wanted to do anyway. The lack of a central creative focus, or in fact, any plan makes the Sequel Trilogy enjoyable, but a missed opportunity.

In retrospect, I think that Disney would have been better served by adapting Timothy Zahn’s groundbreaking “Heir to the Empire” series for the Sequel Trilogy instead of starting wholecloth. People would have gotten over re-casting the main characters with younger actors. If that was Disney’s only hang up, it’s a massive, unforced error on its own, but there’s no evidence that Disney even considered adapting Heir to the Empire – a bantha sized mistake.

10. The Mandalorian, Clone Wars, Cassian Andor Series, and the Future.

First of all, The Mandalorian rocks. It rocks harder than any of the five Disney Star Wars films.

Additionally, The Clone Wars series will finally get the wrap up it deserves. While we know what happens to Cassian Andor, Diego Luna is one of the most underrated actors of his generation, so I’m looking forward to that series too. On Disney Plus, Star Wars has found a good home.

Game of Thrones ended with a thud, but it also demonstrated that a television series is a better platform for high fantasy storytelling than the “film trilogy” model. The Mandalorian has more room to breathe in its world than the Sequel Trilogy, for example. Then again, that’s also part of why The Clone Wars is light-years better than the Prequel Trilogy.

Conclusion

Is Star Wars in a better place now than in 2012? The Sequel Trilogy contains better films than the Prequel Trilogy, but it largely left creative capital on the table. Rogue One and Solo are solid films, but also showed Disney why they couldn’t water down their product. The “new” extended universe content does not appear better or worse than the old extended universe content.

That said, the television output of Star Wars has gotten better and better.

While there have been missteps, Star Wars also has a bright future ahead of it. I for one, am excited to find out what the future holds for Baby Yoda and company.

(C) 2020 D.G. McCabe

Something Rotten in the State of Criticism

“Tis hard to say if greater want of skill,

Appear in writing or judging ill,

But of the two, less dangerous is the offense,

To tire our patience than mislead our sense.”

– Alexander Pope, Essay on Criticism, 1711

I’ve spent countless hours reading lazy, shallow, repetitive criticism of film and television online. For the last week, I purposefully avoided all critics in anticipation of “Star Wars: The Rise of Skywalker.” I deleted social media apps from my phone, blocked popular culture websites, avoided aggregators like burning sulfur.

I saw Episode IX. I quite enjoyed Episode IX. Then, having no need to avoid the critical “conversation,” I ended my embargo and found a “conversation” that I had no interest in joining. It was the same conversation that praised David Simon’s dumpster fire “The Deuce” and awarded the three worst seasons of Game of Thrones with the Emmy for best drama series. The same conversation that told fans that hated Star Wars: The Last Jedi that their opinions were wrong, and the critics knew best. It’s the same conversation that recognizes movies as “films of the decade” that weren’t well reviewed or widely seen at the time.

The state of film and television criticism has descended into a culture of mindless aggregators, shallow hot takes, and a devaluation of successful storytelling tropes in favor of what’s new and shiny. However, I outlined three very different points of contention above, so I’m going to give each one its space.

1. Against Aggregators

Aggregators offer quick, ultimately meaningless data points for whether or not a movie is “good” or whether the intended audience will actually enjoy the film.

For example, the Rotten Tomatoes score for the classic, original Anchorman (66%) is lower than its pointless sequel Anchorman 2 (75%). Star Trek: Into Darkness (84%) and Star Trek II: The Wrath of Khan (87%) have similar scores, even though the former is a far inferior remake of the latter. The viewer scores for Star Wars Episodes 8 (43%) and 9 (86%) are the opposite of the critical scores (91% and 57% respectively), demonstrating an extreme disconnect between reviewers and audiences. Did I cherry-pick these examples? Of course. Are they the only examples? Hardly.

An aggregation of reviews diminishes the value each individual review, while providing an ultimately useless number that may or may not reflect the actual quality of the film. Aggregators give the appearance of advice, while, in fact, providing very little useful information.

2. Against Recapping

I admit, I used to love episode by episode recaps. About ten years ago, this format greatly contributed to the conception of a “golden age” of television. I’m not disputing that. What I take issue with is not what recapping was, but what recapping has become.

In a rush to be the quickest to publish, episode recaps have become sloppily written, and at worst, lazy descriptions of what went on in the episode that add nothing of value.

Recaps can also mislead about the quality of a show. Take for example HBO’s “The Deuce.” The Deuce was an unfocused endeavor that spent too much time on too many boring characters. David Simon and George Pelacanos intricately recreated a setting no one wanted to revisit, to tell a story no one asked for. However, if you didn’t actually watch the show and just read the episode by episode recaps, you’d think it was phenomenal. In a rush to publish, it was faster and easier to simply praise a show created by previously successful producers than to question the show’s quality.

3. Against Challenging Successful Tropes Just for the Sake of Challenging Successful Tropes

On the one hand, I get it. We can’t forever keep calling back to the same properties that were popular in the 1980’s, can we? There certainly have been lazy, unnecessary remakes. I argue, however, that there is nothing inherently wrong with trying to give fans of a property something they’d enjoy or calling back to an earlier film that worked well.

I enjoy Star Wars, The Last Jedi, and so did critics. The latter mainly did so because the film challenged established Star Wars tropes and answered the questions posed by Episode 7 in unique ways. I’m always captivated by the film’s images while I’m watching it, but I admit that its story is a house of cards.

Many, many people did not enjoy The Last Jedi. Rian Johnson challenged established Star Wars tropes, but never asked whether those tropes needed challenging.

Successful tropes are successful for a reason, and this is nothing unique to Star Wars. After all, one of the main sources of Star Wars is Joseph Campbell’s “The Hero with a Thousand Faces” which is entirely about the common themes that exist between popular myths throughout human history. Sometimes challenging those tropes in popular media is simply unnecessary.

As for nostalgia – the greatest advantage of film as an art-form is its ability to create an emotional response in the audience. Nostalgia is a powerful emotion. There is nothing inherently wrong with using it to tell a story.

Conclusion

I’m done with aggregators and re-caps. I’m also done with this idea that using nostalgia and fan service are automatically negative things. More on Star Wars, Episode 9 later.

(C) D.G. McCabe

The House of the Dragon?

Yesterday, HBO announced a straight-to-series order of a show based on George R.R. Martin’s fictional-history book on House Targaryen entitled “Fire and Blood.” The show will have a ten episode first season. The title? House of the Dragon. HBO also released a promotional poster with its Targaryen logo (unlike the one above that I designed myself) and a promise that “fire will reign.” That’s all the news we have so far – no release date, no cast, no filming locations.

HBO canceled the “thousands of years ago” series loosely based on the events of the Long Night. The pilot that the network has in the can will likely never see the light of day.

I completely understand HBO’s decision here. House of the Dragon will have: 1) completed source material to draw upon, 2) recognizable kingdoms, houses, and names, and 3) dragons. To summarize, the reign of House Targaryen is a much more interesting, and more detailed, period of Westerosi history than the Long Night.

The Star Wars prequels have made me eternally skeptical of the concept of a prequel, but that doesn’t mean that a prequel can’t succeed. For example, Better Call Saul is an excellent show. Arguably, it is a more consistent show than Breaking Bad. We know where Jimmy/Saul is headed, but the story compensates for this by diving deep into its characters.

House of the Dragon may not even have many built in spoilers that people know about. Show-only folks probably only know a few things about Targaryen history off the top of their heads: Aegon conquered Westeros, and a war called the Dance of Dragons killed most of the dragons. Within that space, there is a lot of room to maneuver plot-wise.

The Dance of Dragons is so complicated that even people who have read all the history materials might be confused as to all that went down. Aegon’s Conquest is comparatively straightforward, but beyond the “we know Aegon wins” ending, there are enough twists and turns to surprise people.

As for characters, that was always Game of Thrones’ biggest strength. Game of Thrones was at its weakest when it sped up the pace of its plot. If House of the Dragon builds itself on character, even if that means the story slows down, it could be an excellent show.

House of the Dragon could be really good, maybe even better than Game of Thrones considering how the latter didn’t quite stick the landing at the end. Its production team has to internalize the lessons of why the last two seasons of Game of Thrones dropped in quality. The team also needs to learn the lessons of what can make a prequel successful from prequels such as Better Call Saul. I’m optimistic.

(C) 2019 D.G. McCabe

Game of Thrones: The Complete Series

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What makes a “great” television drama?  “Great” is a largely meaningless term.  There are dramas that are well written, but not particularly influential.  There are dramas that are influential, but not particularly well written.  Then there is the cream of the crop, the dramas that are both well written and influential.  While it is impossible to assess how influential a show will be two days after its series finale, I’m confident that Game of Thrones will fit squarely in the category of influential, but not particularly well written.

Was it well-written at times?  Absolutely – especially when it stuck closely to its source material, George R.R. Martin’s “A Song of Ice and Fire.”  There were many times the writing was bad during the last two seasons, and there were times that the writing was as bad, if not worse, throughout the series.  Examples include Daenerys’ visit to Qarth, anything involving Ramsey Snow, violence against women that did not happen in the source material, the mustache-twirling villains of Craster’s Keep, Arya’s layover in Braavos, and Jaime’s misadventures in Dorne.  Theon Greyjoy, for instance, spent most of the series in a poorly written subplot, so his demise in the final season does not deeply resonate despite the fact that Alfie Allen has been in the main credits since the very first episode.

The rushed and sloppily written final two seasons may be the show’s most obvious writing failure at the moment, but let’s not forget that the show constantly underwhelmed in its depiction of one of the most compelling characters in the source material, Jon Snow.  While Kit Harrington’s portrayal of Snow has proven popular, the book version of Jon Snow is one of the smartest and emotionally complex characters in the entire series.  The show, on the other hand, often portrayed Snow as well-meaning, but dull and not very bright.

So yeah, Game of Thrones is flawed.  But it is also pushed the technical boundaries of the medium of television drama further than any series that came before. Game of Thrones has given us hundreds of unforgettable images, from the birth of the dragons to the knighting of Brienne of Tarth.  When I think of Game of Thrones, I won’t always think about how Daenerys’ heel turn at the end was sloppily written, but I will remember images, such as the one of Jon and Ygritte looking out from the top of The Wall.

I can reasonably predict that Game of Thrones will be more influential as a technical achievement than anything else.  The way it handled a sprawling story that took place over a decade, over two massive continents, with hundreds of characters will be a text that creators will look at when designing their own equally ambitious television series.  Game of Thrones proved that no series is “unfilmable,” and that may be its most important legacy.

I can’t quite “rank” Game of Thrones yet, but as of right now I would not put it in the same league as The Wire or Mad Men because of its inconsistent, and sometimes outright bad, writing.  A better comparison would be The West Wing.  The West Wing pushed the boundaries of technical achievement in television, not with dragons and white walkers, but by demonstrating a cinematic, “lived-in” feel that still resonates in the industry.  Like Game of Thrones, The West Wing is a rewarding show on the second or third viewing.  Also, like Game of Thrones, The West Wing suffered from poor writing, especially during its final seasons, which resulted in an ending that felt disappointing and failed to resonate as deeply as it could have.

In conclusion, Game of Thrones gets an A+ for technical achievement, but a C+ for writing.  That said, here are some of my favorite moments from Game of Thrones:

  • The Battle of Hardhome: A scene loaded with unforgettable images, not just the iconic “Night King raises the dead” scene.
  • Jon and Ygritte climb The Wall: One of the few times the show did justice to a Jon Snow plotline from the books.
  • Daenerys burns Astapor: This reads differently in retrospect – not so much a moment of triumph as an ominous harbinger of things to come.
  • The Hound eats your chicken: Game of Thrones could be really funny at times, especially when it partnered interesting characters together, like Arya and the Hound.
  • Arya reunites with Nymeria: the last two seasons were flawed, but Arya’s moment of clarity when reuniting with her lost direwolf was a highlight.
  • Tyrion’s “trial by combat” at the Vale: with great dialogue and our introduction to the Bronn/Tyrion friendship, this was an early highlight.
  • Oberyn Martell’s introduction: sometimes Game of Thrones brought in new characters slowly, sometimes it introduced them by showing you exactly who they were and what they were about.
  • “No true king ever needs to say, I am the king:” man, Charles Dance was great as Tywin Lannister, wasn’t he?
  • Battle at the Wall tracking shot: you know which one I’m talking about.
  • “And you will know the debt is paid:” anytime Peter Dinklage and Lena Headey shared a scene it was pure gold.

That’s a wrap on the final season of Game of Thrones!  Thanks for reading!

© 2019 D.G. McCabe

Game of Thrones FINAL Power Rankings (Season 8, Episode 6)

Before I get into this week’s Power Rankings, I’d like to thank all of my loyal readers for viewing these articles. They were never in-depth, but I hope they provided a fun moment or two of distraction on Monday mornings since I started writing them in Season 4.

Now. For this final-final Power Rankings, we’re ranking everybody!

1. House Stark

Bran rules the south, Sansa rules the North, Arya sails the seven seas, and Jon retires with his buddies (more on him later). Bran is the very first narrative chapter in a Song of Ice and Fire, so if he’s to use his magical powers for the good of the Realm, it will nicely bookend the story. Sansa, meanwhile, still has her ironclad alliances with Houses Tully and Arryn. While some may be jealous of the North’s independence (see Greyjoy, Yara), Sansa is capable enough to keep the North self-sufficient and at peace. As for Arya, she’s always been an adventurer, if anyone can discover what’s west of Westeros, she can.

2. The Wildlings

Ygritte gave Jon Snow a taste of what real freedom is, which is something worth living for – a purpose. That’s important, since Jon’s central purpose became saving humanity from certain doom, and he achieved that purpose. I can think of no more fitting resolution to his story than riding out into the sunset to live out his days in the North – the Real North – with Tormund, Ghost, and whomever else he might come across. The whole “let’s send him to the Wall” was a head fake. Jon never intended to re-join the Night’s Watch, and no one cares if he does or not. The show never did justice to his character, and I look forward to reading about how he really reaches his ending and gets his well-deserved freedom.

3. House Lannister

Tyrion is House Lannister now. That’s good for both House Lannister and the Realm at large. I thought Tyrion’s story resolved a bit too neatly, but the show has always been very much pro-Tyrion since Peter Dinklage got top billing starting in Season 2. I assume there is someone managing the Westerlands on Tyrion’s behalf, but the show cut out or killed most of his relations, so we’re left in the dark as to who that might be.

4. House Arryn

Robin Arryn comported himself well at the big council at the Dragonpit. If his character arc took him from creepy child to reasonably well-adjusted adult, that’s very interesting.

5. House Baratheon

Whomever Gendry gets to be his lady will be far happier in that role than Arya Stark. Other than getting his heart broken, Gendry really did well for himself, especially considering where he started. Good for him.

6. House Martell

The show did a poor job depicting the Dornish after Oberyn Martell got squeezed out of the show. Even so, the Dornish came out of the last wars relatively unscathed. I also assume given how, ahem, prolific the Martell clan has been in the realm of reproduction over the years, it’s safe to say that the new “Prince of Dorne” is probably a Martell.

7. House Tully

Edmure is still alive. Still alive so he can get dunked on by Sansa!

8. House Greyjoy

Yara is firmly in control of the Iron Islands, but with a depleted force, she’s probably the weakest ruler of a “Great House” left. She didn’t get the independence Daenerys promised her, and there doesn’t seem to be anything she can do to change that.

9. The Night’s Watch

And now their watch is ended. Well, except as an excuse to send Jon Snow north to hang with his best pals Tormund and Ghost.

10. House Targaryen

The dragons are gone now. Jon was never a Targaryen, despite whomever his real father may have been – he’s Ned Stark’s son. That means that the Targaryens are truly no more.

11. The Hound

The Hound should have taken his own advice. The Mountain was a dead man walking anyway, so by insisting on killing his brother himself, the Hound rendered his journey pointless.

12. The Dothraki

I assume they went home with the Unsullied. Or they’re on the bottom of a lake somewhere.

13. The Meereenese

Man, I hope Daario ended up being a capable administrator, or the entirety of Slaver’s Bay is completely in chaos right about now. I wish they would have made that clear on the show, since it would have helped sell Daenerys’ heel turn in the last season.

14. House Tyrell

The Tyrells are dead and gone. Now there is only House Bron. All hail Bron!

15. House Bolton

Absolutely no one misses these dirtbags.

16. The Sparrows

Or these creepy fanatics.

17. The White Walkers

And finally, last and least, the guys who were really just one guy who got killed pretty easily when it comes down to it.

Also receiving votes: “I like living;” “You never @!#!$ a bear!”; “Oh are you master of grammar now too?”; “This is my cat, Ser Pounce!”; “I’m going to eat every chicken in this place!”; “Where are my dragons!?!”; “You know nothing, Jon Snow;” “The man who passes the sentence swings the sword;” the Moon Door, the Great Hall of Winterfell, sexposition, pointless nudity, and eight years of living in George R.R. Martin’s playground.

(c) D.G. McCabe

Later this week: Game of Thrones: The Complete Series

Game of Thrones Power Rankings, Season 8, Episode 5

The penultimate episode of Game of Thrones! I know, I know, the writing has devolved into self-parody, the character beats are no longer earned, and the show can’t escape the feeling that everything is rushed. Thinkpiece after thinkpiece after bloody thinkpiece online has been written about all of that. Clickbait all. Speaking of clickbait – Power Rankings!

1. House Targaryen (Last Week, #3)

The show didn’t execute Daenerys’ heel turn with enough nuance to be fully effective, but I don’t think anyone should be that surprised. She’s been threatening to lay waste to cities since season one, she is a hardcore Dothraki fan girl (and a fan of all the murderous pillaging that goes along with it), and she has brutalized her perceived enemies regardless of their guilt or innocence. Most of her empathetic qualities were brought out by the likes of Jorah, Barristan, Missandei, Irri, or Daario, who are no longer by her side. The “genetic madness” thing doesn’t really compute, but Daenerys has already proven that she can be barbarously vicious. Forget burning, remember that time she left two people to suffocate to death in an empty vault? I can imagine that Daenerys concluded that if she burnt King’s Landing to the ground, no one would dare oppose her again. “If I look back now, I am lost,” she often thinks to herself in the books. Guess what? She’s lost.

2. House Stark (Last Week, #2)

The Starks are still alive, which is not nothing this late in the story. Arya’s storyline this week fully redeemed the clunkiness in Daenerys’. The Starks can go one of two ways. They could plot to kill Daenerys (and hope Bran can warg a dragon – fat chance – the show-version of Bran is useless). In the alternative, they could just deal with her being queen, and hope she stays the hell away from the North.

3. The Hound (Last Week, Not Ranked)

Hooray for Clegane-Bowl! I think that was about as exciting and interesting as we were going to get with those two meatheads wailing on each other. At least the Hound got to go out in a blaze of glory.

4. The Dothraki (Last Week, NR)

People complain about “plot armor” on the internet vis-a-vis the main characters of Game of Thrones, but what about these guys? Like, well, everyone, I thought they were all dead after the Battle of Winterfell. Now there’s enough of them to sack King’s Landing? C’mon.

5. House Greyjoy (Last Week, #4)

Yara wins offscreen! Now about that promise Daenerys made to make the Iron Islands independent….

6. House Lannister (Last Week, #1)

I brought back Tyrion’s personal “House Lannister in Exile” sigil this week. For now the rains weep over their halls with no one there to hear….

Also receiving votes: House Baratheon, House Tully, House Martell, House Arryn, the amazing and fireproof Ser Pounce, budget Shadowfax, and hope that George R.R. Martin can finish writing the books to fix some of this clunky nonsense.

(c) 2019 D.G. McCabe

Game of Thrones Power Rankings, Season 8, Episode 4

So, what happens next? Bringing a massive undertaking like Game of Thrones to a conclusion should be like turning an aircraft carrier, but it feels like someone is trying to turn a Jeep. The pacing felt a bit more natural during the first three episodes of this season, but last season’s sprint seems to have returned this week. The show could have used a few more episodes – but you can largely blame showbiz logistics for that. Anyway, enough about the pacing, it’s Power Rankings time!

1. House Lannister

Cersei still controls the Iron Throne, but it appears not much else outside of King’s Landing. Her main enemy is like the pacing of the show lately – rushing full speed ahead in an ill-advised and reckless fashion. Plus she has a ton of nasty crossbows, human shields, and fresh troops.

2. House Stark

Sansa is the only one pointing out the obvious – Daenerys is moving too fast. Bran must be feeling pretty useless right about now too, although I can’t imagine he’ll be this pointless in the books. Arya is on a mission to finish her hit list, though. Who knows? Maybe the “Hero of Winterfell” ends up on the Iron Throne.

3. House Targaryen

Daenerys’ potential heel turn doesn’t feel earned at this point. Besides, she’s down to one injured dragon and a few dozen troops. If it came down to her versus Jon, who’s still around to support her? Still, one injured dragon keeps her in power, and high up the power rankings, for now.

4. House Greyjoy

As predicted last week, Yara took back the Iron Islands off screen. This feels like the last we might hear from her.

5. House Baratheon

Poor Gendry. Given a lordship, but rejected too. He’s still alive though, so that’s not nothing.

6. The Free Folk

Speaking of still alive! Now plus one Ghost! I must admit, sending Ghost with Tormund feels more like the show trying to save CGI money than anything story-related.

7. House Martell

There’s a new prince in Dorne! Hopefully he’s more like book-Doran than show-Doran.

8. House Bron?

There’s not enough time left to delve into this subplot too deeply. Bron is getting Highgarden, accept it. And yes, I know that’s House Tyrell’s sigil, suggestions on what House Bron’s sigil should be are welcome.

Also receiving votes: House Arryn, House Tully, the Dothraki, disembodied flying head of Ser Pounce, copious drinking, and HBO Go.

(C) 2019 D.G. McCabe