The Iron Throne (Game of Thrones)

The episode was written by David Benioff and D. B. Weiss. It contains original content not found in George R. R. Martin's novels, but also contains content planned for future novels: Isaac Hempstead-Wright stated that Benioff and Weiss told him Bran becoming king was an idea presented to them directly from Martin.[9]

The episode was directed by David Benioff and D. B. Weiss.

During filming of the Dragonpit scene in Seville, Spain, actors Vladimir Furdik (The Night King), Faye Marsay (The Waif), Tom Wlaschiha (Jaqen H'ghar), and Kit Harington (Jon Snow) were brought by HBO to the city as decoys to hide plot points.[10][11] In the same scene, two plastic water bottles were spotted by the audience behind John Bradley and Liam Cunningham's feet.[12][13]

The episode was viewed by 13.61 million viewers on its initial live broadcast on HBO, making it the most watched episode of the series, surpassing the preceding episode "The Bells", as well as the most-watched HBO telecast ever, surpassing the 13.4 million viewers of The Sopranos episode "For All Debts Public and Private". An additional 5.7 million viewers watched on streaming platforms, for a total of 19.3 million viewers.[14][15]

In the UK, the episode was watched by 5.12 million on Sky Atlantic, according to the British Audience Research Board.

On review aggregator Rotten Tomatoes, the episode has an approval rating of 48% based on 134 reviews, with an average rating of 6.32 out of 10. The website's critical consensus reads: "If nothing else, 'The Iron Throne' is a bittersweet – if unfortunately bland – series finale that ensures Game of Thrones fans will linger on the fate of their favorite characters for some time. Will they ever be satisfied by the show's conclusions? Ask us again in 10 years."[16] As of August 9, 2019, it is the lowest-rated episode of the series on the website.

James Poniewozik of The New York Times felt the story insufficiently explained why Daenerys burned King's Landing and how she arrived at her final character point, stating that "a woman, abused and traded like chattel, becomes so caught up in her zeal to do good that she sees anything but blind adoration as evil" was a solid idea, but that viewers were not taken "inside her perspective to make that change seem real and inevitable." Poniewozik said "small character moments" like Tyrion straightening chairs, Arya sailing west and Jon rejoining the Wildlings "made emotional sense".[17] Hank Stuever of The Washington Post, who watched with lowered expectations, said the series "sailed (and trotted) off to a noble and perhaps anticlimactic end...It was everything nobody wanted, but it was still quite a thing: adequately just, narratively symmetrical and sufficiently poignant. It went long on swelling imagery and somewhat short on dialogue."[18] Laura Prudom of IGN wrote that the finale was "not a disaster", but also "not quite the dream of spring we might've hoped for", "struggling to resolve many of the show's lingering plot threads in a satisfying and coherent conclusion, and once again falling victim to the season's needlessly truncated episode order."[19]

Critics took issue with the episode's pacing and final revelations. Spencer Kornhaber of The Atlantic wrote that the finale was "tonally odd, logically strained, and emotionally thin" and a "drama turned into a sitcom". Lenika Cruz, also writing for The Atlantic, wrote that the episode had "pacing issues, rushed character development, tonal dissonance, the lack of attention to detail, unexplained reversals, and weak dialogue".[2] Kelly Lawler of USA Today wrote, "Tragedy and injustice were as baked into the series' identity as dragons and battles," but the finale was "unrecognizable. It was hacky; it was clichéd. Every character left standing received a saccharine coda...It didn't gracefully swerve into another lane, it careened off a cliff."[3] Inkoo Kang of Slate wrote that "We know governance is complicated, and the show’s depiction of those complications is one of the reasons why it initially felt so refreshingly relatable – but the finale’s argument that an abdication of responsibility is the best we can hope for in a leader – feels lazy and false."[20]

Conversely, TV Guide's consensus concluded that the Game of Thrones finale "finished strong," ranking it #33 on the list of all 73 episodes.[5][6] Richard Roeper, writing for the Chicago Sun-Times, wrote that "over all, the finale was a solid and largely satisfying wrap-up to one of the most exciting and enthralling TV series ever," and was "melancholy, bittersweet, twist-filled and at times surprisingly humorous." [7] Hugh Montgomery of BBC also rated the episode 4/5, writing that the finale largely satisfies "on the terms the creators have [previously] set out" in the "ruinous" penultimate episode. Bran becoming king was "true to the show’s sense of realpolitik" as a "contingently happy ending", whereas the show "provides an efficient, if disappointingly uncontroversial, ending" for Jon, Arya and Sansa.[21] Karl Quinn of The Age wrote that the show "may have resolved itself" too quickly in dramatic terms, but Bran's ascension "made perfect sense" thematically according to the show's "anti-war and anti-despot themes...After all the bloodshed, butchery and burning, Game of Thrones ended not with a bang but with a ballot."[22] Lucy Mangan of The Guardian gave a 4/5 rating, stating that "the finale just about delivered. It was true to the series' overall subject – war, and the pity of war – and, after doing a lot of wrong to several protagonists last week, did right by those left standing."[23]