Television Review: Winterfell (Game of Thrones, S8x01, 2019)

Winterfell (S8x01)

Airdate: 14 April 2019

Written by: Dave Hill
Directed by: David Nutter

Running Time: 53 minutes

The eighth and final season of Game of Thrones enjoys an unenviable reputation as one of the most infamous chapters of recent television history, a reputation that has grown with subsequent rewatching and analysis. While the show previously held the mantle of the greatest television series ever made, its swan song was met with a level of vitriol that seemed disproportionate to the actual narrative failures. However, one can make a compelling argument that this legendary reputation for low quality is more a product of unrealistically high standards than an objective assessment of the writing. The showrunners, David Benioff and D.B. Weiss, once Martin’s literary source had dried up, were forced to make things up as they went along, a creative process that inevitably led to compromises they might not have made with a novel as their guide. In this context, the decline had been visible for some time, and it looked that the trajectory could not be reversed, particularly in the first episode of the final run, Winterfell" Written by Dave Hill and directed by David Nutter, the episode serves as a setup piece that highlights both the strengths and the fatal flaws of the show's concluding material.

The emphasis of this episode, and indeed the season, is simplicity. Game of Thrones had to end, and had to end quickly, without the distractions of a complex world-building, unresolved side storylines, or characters who were long underserved. This narrative trend is visually emphasised by the new opening titles, which shift the animation away from the iconic map of Westeros and focus instead on the very interiors of Winterfell and King’s Landing—two locations where the majority of the plot would take place. This streamline approach suggests a desire to cut the fat and get to the meat of the story, but for all that simplicity, relatively little happens in the episode. The plot, as the title suggests, takes place almost entirely within the confines of Winterfell and consists of the mundane business of troop concentration. The Unsullied, Dothraki, and Northern bannermen gather to prepare for the inevitable clash with the Army of the Dead. This gathering also serves as an opportunity for various major characters to meet and reunite, providing the requisite emotional payoff for a series finale. We see Jon Snow reunite with Arya, Arya with the Hound, Sansa with Tyrion, and in the very final scene, Jamie is finally reunited with Bran—the boy he had thrown from the tower in the very first episode.

Despite the sense of unity, the episode struggles to generate genuine tension. Everyone seems to be united in purpose, and yet Jon Snow and Daenerys Targaryen still find time to enjoy a romantic getaway. This involves Daenerys teaching her lover how to ride a dragon, a scene that serves as an opportunity for HBO to showcase some CGI budget. While visually impressive, it feels like a distraction from the looming threat of the dead and serves only to deepen the romantic subplot that will dominate the season's climax.

There is, however, a strand of possible tension that arises from Sansa Stark, who has learned to be extremely distrustful of everyone, a trait honed by years of survival in King's Landing. This distrust extends to both Cersei—whom she suspects will end the truce—and Daenerys. Sansa criticises her brother for bending the knee, despite being proclaimed the King in the North, highlighting the fragility of the alliance between the North and the South.

Another reunion that goes very sour is that of Jorah Mormont and Samwell Tarly. Sam, learns that his father and brother who were executed by Daenerys, and is now extremely unhappy about his new queen. This prompts Sam to confront Jon with his true identity as the Targaryen heir to the Iron Throne, a revelation that comes at the most dramatic moment. Outside of Winterfell, the storylines are businesslike closing of the accounts and attempts to give some interesting bits of content in an otherwise uneventful episode in which characters repeatedly tell each other only what the audience has already known.

Theon Greyjoy, having decided to finally make amends for his past sins, first by rescuing his sister Yara from Euron Greyjoy's captivity, decides to go to Winterfell to help the Starks rather than protecting the Iron Islands, a decision that reflects his character's desire for redemption.

In King's Landing, the political maneuvering is equally uneventful. Euron Greyjoy brings the mercenaries of the Golden Company, led by Captain Strickland (Marc Rissman), into Cersei's service. Although Cersei is unhappy over Strickland not bringing elephants with their troops—an explanation provided by Euron that large beasts were unable to survive long sea voyages—she finally succumbs to Euron's attempts to bed her. This is motivated by her desire to have a "proper" father for her unborn baby, a pragmatic decision that underscores her ruthless survival instincts.

Measter Qyburn also hires Bronn for a delicate mission in the North, which involves two of Cersei's brothers—Jaime and Tyrion—whom the queen considers treacherous. Bronn agrees, and the scene also serves as one of the series' last examples of sexposition. Qyburn finds Bronn in a brothel with three nude prostitutes, including Marei. The scene marks the end of Josephine Gillan’s tenure as the longest-recurring prostitute character of the series, providing a final nod to the show's unique blend of politics and erotica.

The new location, previously mentioned in the series but finally introduced near the end, is Last Hearth, the seat of House Umber, the closest castle on the path of the Army of the Dead. Its lord, young Ned Umber (Harry Grasby), had arrived there from Winterfell to help with the evacuation. A reconnaisance party, led by Tormund Giantsbane and Beric Dondarrion, find him as an elaborately displayed corpse, ultimately turned into a wight, but promptly burned by Beric’s flaming sword. The party also reunites with Eddard and other Eastwatch survivors, who rush towards the south to warn Winterfell.

While the episode is well-produced and well-directed, Winterfell suffers from some atrocious writing. Samwell Tarly, despite being one of the most knowledgeable characters of the entire series, happens to learn the devastating and far-reaching family news extremely late and at the most dramatic moment. The dialogue is also uninspired, relying on exposition rather than organic conversation.

There are also many continuing issues with the disregard for travel times, pregnancy lengths, and other details. Linguistic mistakes related to Dothraki, such as the misuse of their native tongue, would infuriate not only George R.R. Martin purists but also fans that had enjoyed the series itself in previous seasons paying attention to details.

Despite these criticisms, Winterfell was aired on 14 April 2019, nearly two years since the finale of the last season. This long between-season hiatus—which will become something of the norm with the most expensive and the most prestigious television shows these days—helped a lot with creating anticipation. The episode broke all the records, drawing in viewership numbers that even the most critical fans could not ignore. It is a testament to the brand power of Game of Thrones that such a flawed episode could still serve as a satisfying, if imperfect, opening chapter to the end of the world.

RATING: 5/10 (++)

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