No, you’re not the only one.

It is more and more difficult to suspend my disbelief when the basic logic of GRRM’s universe is destroyed to make the TV show plot points come together in the limited time left for the show.

Everyone has a different level of tolerance for inconsistent, irrational or physically impossible behaviors.

I was only pushed to the breaking point in season six, when one character received clearly fatal knife wounds only to come back within a couple of days to become a professional parcour stuntman, while another stupidly fell into an obvious trap but still survives in the middle of a shower of ten thousand arrows, a battle of colliding mounted armies, a deadly double envelopment, and a suffocating mountain of dead bodies.

Having said that, if you are unhappy about the relatively trivial plot holes you wrote about*, I can’t imagine how you could have accepted the kind of irrational and inconsistent behavior that serves as the foundation for book one of ASOIAF and season one of the show:

  1. Ned Stark: if you forsake all honor and all other oaths (to King and to wife) to protect the life and identity of the rightful heir of the Iron Throne, why would you allow that boy to go to the Night’s Watch, effectively renouncing his future rights as king and almost guaranteeing his early demise because of freezing, Wildlings, White Walkers, or Alistair Thorne?
  2. Catelyn Stark: how is it possible for any person described as intelligent and politically savvy to believe in the weakest circumstantial evidence against Tyrion, ignore the most basic concepts surrounding motive and self incrimination (why would anyone use a weapon that would identify him as the man behind the attempted assassination in Bran’s room), refuse to reconsider her prisoner’s guilt after he saved her life in the battle against the bandits on the way to the Vale, and ignore the obvious consequences her actions will bring down upon her husband and daughters who are now living in a Lannister-controlled city?
  3. Jamie Lanister: in a world where children are ignored at best and savagely abused at worst, and social inferiors are normally punished or killed if they speak ill of a superior, what is the point of trying to kill a boy too young to even understand what you and Cersei were doing up in the old tower?

However, all of that pales compared to this season. The physical impossibility of Euron’s fleet and the complete reversal of Dany’s strategic senses spoiled episode 2 for me.

On the other hand, I loved episode 3, in spite Tyrion’s utter ineptitude as a military leader and the impossible brilliance of Jamie and Euron’s tactical decisions (are they employing a crystal ball for their knowledge of team Dany’s troop movements?).

That is, I loved it until I saw the map of Westeros:

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In a universe where ravens can reliably deliver messages anywhere in Westeros, why would anyone board a ship for Dorne (1) when they could just order their army to either march toward Highgarden to combine with Tyrell forces, or have their remaining ships quickly ferry troops from Sunspear to Griffin’s Roost and occupy the now uncontrolled Baratheon lands? (Tyrion already knows how dangerous it is for an invading army to use Blackwater Bay as a landing spot.)

Secondly, how is it possible that Lady Olenna departed at roughly the same time as Ellaria, but avoided having her ships captured or destroyed by Euron’s fleet, then made it to Highgarden (2) just in time to meet the Lannister forces?

Finally, what idiot commits their most trusted army to cross an entire continent to take a strategically useless territory (3) when King’s Landing is only a day away by boat (and a round trip destination for a jaunty journey by dragon)?

Once we accept the fact that Euron has super ships with such technological improvements as long distance fire catapults, improved aerodynamic sails, and teleportation devices that allow his fleet to appear before the sentries of opposing fleets can even signal a warning, it’s easier to fall back into our zombie-like escapism.

After all, every moment we spent in a world where Agent Orange is president makes the fictional world of Westeros that much more realistic and inviting.

  • A few notes on your comments.
  1. Sam risked his own life to cure Jorah, a fact Jorah will never forget. Off screen, Jorah had to ask about his father, which means a big part of the story (the mutiny, Craster’s deal with the White Walkers, and Sam killing a White Walker with dragon glass) would now be known and believed by Jorah. Jorah is heading to Dragonstone to reunite with Daenerys. It will take a while, as he is on the other side of the continent, but when he finally arrives, guess who will take over the military decisions from Tyrion and completely alter the course of the war? Guess who will be a second source corroborating Jon Snow’s story? It may be that the grey scale story line was only meant for Sam and Jorah to meet.
  2. Davos has learned to be one of the most implacable heroes in the story. He pushes as hard as he can for what is right, but never loses sight of the big picture. He went from releasing Genry and being sentenced to die to not instantly killing Melisandre when he found out about the horrible death of Shireen. This shows how much restraint he learned. Jon’s trip to meet Dany was all about getting help against the White Walkers, so he had to swallow his own personal feelings in order to get a deal done.
  3. Bran’s brain has been so scrambled by his 3-eyed raven experience AND being touched by the Night King, anything that comes to him in the form of vision is what will come out of his mouth. His seeing abilities might also be influenced by what he senses from the people around him. When he met Dolorous Ed, he focused on the most traumatic events that Ed carries with him. Sansa’s rape and abuse is the driving experience of her life. Like a PTSD victim, her trauma is present 24/7 and ready to come out at any time, with the slightest provocation. It seems plausable to me that Bran would pick up Sansa’s internal struggle and repeat it to her.

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Ad agency creative director, writer & designer at https://guttmanshapiro.com. Former pro tennis player and peak performance coach for professional athletes.

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