It seems as though Game of Thrones has finally solved its finale problem. For several seasons of the show’s run, the finale has been unable to live up to the over-the-top penultimate episode, leaving viewers mostly satisfied but also a tad underwhelmed (nowhere is this clearer than in season three, when “The Rains of Castamere,” possibly the series’ best episode, was followed by “Mhysa,” with its unfortunate white-savior imagery). I think season four’s “The Children” was the show’s best finale, or maybe season one’s “Fire and Blood” – that is, until “The Winds of Winter” aired. This is the show’s best finale by far, but more than that, it’s a damn good episode of television, one that fits in nicely with GoT‘s top-shelf sixth season.
“Winds” is a busy episode that never feels cluttered. How busy? By the 28-minute mark, four (arguably) main characters are dead. The episode’s opening is stark and silent, and as Cersei, Tommen, the High Sparrow, and Margaery get dressed in their respective chambers, it looks like nothing so much as preparation for battle. (Especially Cersei, looking like a real supervillain in all black.)
The trial is unpleasant. There’s no other word for it. And episode director Miguel Sapochnik does such a great job of shooting the Sept of Baelor that it makes for an unsettling juxtaposition. Septons sit at each end of the seven-pointed star, the trial is public, and they want everyone to believe that Loras Tyrell will get a fair judgment. It’s well-done, and Sapochnik shows a flair for staging, which should come as no surprise given what a terrific job he did on last week’s “The Battle of the Bastards.”
And here I want to say congratulations to the Internet, because it was finally right about a theory, ending its six-season losing streak. Cersei blows the Sept right the fuck up with the Mad King’s cache of wildfire. It’s an amazing, and bold, move on the show’s part to effectively sweep the playing board for next season. Margaery, one of King’s Landing’s savviest operators, is dead. So is the High Sparrow. And Grand Maester Pycelle. And, tragically, Tommen, who was spared from the blast but leapt to his death from his chambers. As Cersei is crowned queen, she looks hollow: she has become the first Queen of Westeros, but all of her children had to die in order for it to happen. And she’s about to lose the only other thing she truly cared about, her brother Jaime. The look he gives her must be how he looked at the Mad King when he started to realize the depths of the man’s cruelty and insanity.
See? That’s almost five hundred words on the first half hour. I promise this review won’t be 3,000 words long.
But I’d have a hell of a fun time spending 3,000 words on such a terrific episode. “The Winds of Winter” did more than set up next season, it put Game of Thrones into endgame. And I have to say, I didn’t see this coming back in season one: it looks as though the next several seasons of the show will be a war between powerful women, which I’m completely okay with.
Ellaria Sand and Olenna Tyrell have joined forces with Daenerys, whose army just got a hell of a lot more formidable. And they’re finally going to Westeros – you know, the thing she’s been talking about doing since the first season. There’s a wonderful shot that closes out the episode, that of Dany’s navy sailing across the Narrow Sea, the three dragons circling above. It’s almost perfectly representative of the ambition, scope, and achievement of this season. Or maybe I’m reading too far into things. But hey, it’s a cool shot.
Another great shot is of Walder Frey, seated alone at his table but for a maid whose identity isn’t what it seems. The viewer ascertains pretty much immediately that the maid is Arya, but it doesn’t lessen the impact of Walder’s sons Lothar and Black Walder being baked into a pie, or of Arya removing her mask and slitting Walder’s throat. Maisie Williams delivers an amazing facial performance, as we can see that Arya is not just dead inside, but gone inside. It might be thrilling for us, but it doesn’t feel as good for her. I doubt if she feels much of anything.
There was a lot more to “The Winds of Winter.” Jon is the new King in the North, potentially leading to conflict between him and Sansa in the future. More importantly, Jon’s true parentage was confirmed. Littlefinger admits that he pictures himself on the Iron Throne, confirming a long-held personal theory that he wants more than just to pull strings. Dany appoints Tyrion the Hand of the Queen, and it’s brilliantly moving. Bran assumes his identity as the Three-Eyed Raven. I don’t need to go into all of this. I’m just glad that Game of Thrones ended a fantastic series with a thrilling, near-perfect episode. It did what finales are supposed to do: it moved, it thrilled, and it made the next several months of waiting all but impossible.
“The Winds of Winter” score: 5/5
Game of Thrones season six score: 4.5/5
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