Game of Thrones: Hobbes in Dragon Land?

The kingdom of Westeros went through the equivalent of the Peloponnesian wars. In their suicidal rivalries, Athens and Sparta prepared Greece for the invasion of external forces, first Persian and then Roman. There is another more obvious reference: the Italian cities of the Middle Ages and the early Renaissance. Their rivalries paved the way for external ambitions, those of the Habsburgs on the one hand and those of the Valois on the other. But who, in the face of Westeros’ self-destruction, will play the role of Athens or Sparta, Florence, Milan or Genoa? There are no external candidates: we are closer in this respect to today’s rivalry between the United States and China.
 
But beyond a reference to Thucydides, can we perceive the final scenes of the series as a call to moderation and humanism? The enemy has become war itself. The instinct for evil provoked the unleashing of passions and the totalitarian and paradoxical will to impose good at all costs. The pattern evokes certain personalities of the French Revolution such as Robespierre: a female Robespierre with the supreme, yet not nuclear, weapon, the dragon’s "napalm". A Robespierre in petticoats that must be "neutralized" at all costs before it is too late.

If the process leading to the conclusion of the series is disappointing - as could be the accelerated version of a film of which all but the decisive scenes had been cut -, the conclusion itself is sophisticated and intellectually and visually satisfactory. Its objective is not to surprise the public at all costs with the most improbable scenario, but to pursue a reflection on the nature of power, in all of its eternity and mystery.

In the series, could the strongest and purest hero had ascended the throne after the murder he committed in the name of a greater good? Jon Snow pursues his destiny in remote and wild lands, perhaps just as in the Middle Ages a Christian would have retreated to a convent to atone for his past and legitimate crime.
 
In the end, the supreme power reverts to the one who appears to be the weakest. The iron throne gives way to a crippled man's wheelchair. The King is a cripple and became so after having witnessed incest and being a victim of attempted murder (in the first episode of season 1). He compensates for his physical weakness with his ability to predict the world to come. For a series that, throughout its eight seasons, has highlighted brute force, this is a spectacular turnaround. This tribute to intelligence is a supreme twist, all the more so since the cripple chooses the "dwarf" as his chief advisor. The famous tale "Blind man guided by the paralytic" becomes "the cripple advised by the dwarf". In short, you probably understood that, despite definite limitations, I liked the conclusion of Game of Thrones. It does not distort the whole series. On the contrary, it adds a more reflexive touch to a background of twilight images. After winter, spring is coming - a nostalgic spring.