Game of Thrones asked us to believe in a Walter White-esque descent into evil, but justified by just a few pages of script. The moment left us with no choice but to conclude that Daenerys had simply gone mad, or, as Maureen Ryan points out in
The Hollywood Reporter, that “Bitches are crazy”.
This kind of event, Waters says, violates the principle of Chekhov’s Gun – the idea that if a gun appears on the wall in the first act of play then it must go off in the third. There was no such gun for Daenerys’s sudden change in mental state. “The story tools must be inherent in the world of the story and not imposed from without,” he says. “If it’s not there, its sudden appearance feels like the writer panicked and has reached for closure by some sort of random means – the so-called ‘Deus ex Machina’, something lobbed in to wrap things up.”
This could also explain our sense that Daenerys’s transformation was unearned. “It feels imposed rather than something immanent in the character and the story – so it feels like the writer’s cheating, skipping crucial cues, to reach a preconceived outcome,” says Waters. “Ultimately stories, even gory ones, are relatively moral affairs: we want to know why people act as they do, and if the reason is set aside for contrivance it’s a let-down.”