Game of Thrones – “The Mountain and the Viper”

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“The Mountain and the Viper”

June 1, 2014

“Traditions are important – what are we without our history?”

One of the perils of being a book reader watching Game of Thrones has been the fact that so many of the biggest moments have been “surprises” in the context of the narrative. We look to events like the Red Wedding, or the Purple Wedding, or Ned Stark’s fate on the Steps of Baelor as key events in the narrative, but we can’t necessarily share the anticipation of those events with viewers who have no idea they’re coming.

This is why “The Mountain and the Viper” is such a fun episode as a reader writing about the show. For once, the show has built in its own hype machine, setting up the trial by combat and building suspense for it over the past two episodes. The week off for Memorial Day could have negatively affected momentum, but it’s worked nicely to give them another week to set up the stakes of this conflict. As readers, we may have the benefit of knowing how the battle between Gregor Clegane and Oberyn Martell ends, but at least our anticipation for seeing how the battle plays out onscreen is something that we can share with non-readers.

Just as we can both share the slight impatience created by an episode that waits until the bitter end to get to its eponymous showdown.

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Sitcom and the Standup Experience: NBC’s Undateable

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In January, Warner Bros. Television gathered journalists in Pasadena for an event built around their comedy slate. Although there were screenings for both long-standing hit The Big Bang Theory and freshman success story Mom, the centerpiece of the evening was NBC’s Undateable, which debuts tonight at 9/8c with its first two episodes.

When the event took place, Undateable didn’t even have a release date. In talking to executive producer Bill Lawrence, though, this wasn’t necessarily a sign the show had no support. Even moving beyond the fact that Warner Bros. was using the evening as a platform for the series, NBC was also in then process of greenlighting what would become the Undateable Comedy Tour, a preview of which was offered to journalists to close out an evening that began with the screening of an episode of the series. It’s more support than you’re expect for a show airing at the end of May, a sign of the new state of summer programming and also the basic logic that pervades Undateable as a series and as an experience.

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Negotiating 101: Sony, Hulu, and Community Season 6

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As I wrote in 2012—and expanded on here at the blog—when Netflix was reportedly in talks to resurrect The Killing after it was canceled by AMC, there is reason to be skeptical of reporting that refers to “conversations” or “talks” surrounding a series potentially being resurrected.

It turns out that, in the case of The Killing, those talks were productive – AMC picked up a third season with help from Netflix chipping in for an exclusive streaming window, and Netflix would return once more to pick up a short fourth and final season of the series when AMC chose to end the series. However, for every The Killing there is a Pan Am, or a Terra Nova, which were reported in a similar fashion but amounted to nothing.

There is plenty of logic behind the idea of Hulu having “conversations” with Sony Pictures TV regarding picking up a sixth season of Community. As Joe Adalian outlines at Vulture, Hulu is in need of a big original content splash to compete with Amazon’s money and Netflix’s prestige, and Community has been a strong performer on the service. It’s also the only logical place it could go, given that Hulu purchased exclusive streaming rights, meaning that neither Amazon nor Netflix would be likely to chip in given they would only have access to new episodes. It has long been presumed, since the day NBC chose to cancel the series, that Hulu was its only option.

However, it’s also an option that seems infeasible for a platform that doesn’t have Amazon or Netflix’s deep pockets, and an option that seems particularly infeasible given the contract burden of a sixth-season broadcast sitcom. The value proposition of Community to Hulu sounds great in the abstract, but when translated to dollars and cents behind the scenes it seems likely that the risk may be greater than the reward.

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Game of Thrones – “Mockingbird”

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“Mockingbird”

May 18, 2014

“A lot can happen between now and never.”

This is typically the space where you’d find my review of tonight’s episode of Game of Thrones, but circumstances were such that A.V. Club editor Todd VanDerWerff needed someone to fill in while he was out of town. Accordingly, my review of the episode is located at The A.V. Club instead.

Before I share the link (and a brief taste of the review), though, a warning: while my reviews are typically written for both readers and non-readers alike, this one is definitely more tailored to the specific reader audience, given that Todd does the “Experts” reviews intended for those who had read at least the first three books. So if you’re been reading these reviews as an “unsullied,” be warned that there will be more attention paid to the adaptation and at how it foreshadows future events, even if the outright “spoilers” for what are in a clearly marked section at the end of the review.

Thanks to those who’ve been reading the reviews here this season, and I’ll be back in this space two weeks from now to head into the final three episodes of the season.

Game of Thrones (experts): “Mockingbird” – The A.V. Club

One of the most common complaints about a television season applies to episodes like “Mockingbird.” Whether you prefer “table setting” or “moving pieces into place” as a metaphor, it’s an episode that functions largely to set up events that are likely going to be more exciting or meaningful than the ones within the episode itself.

Such concerns are distinct, however, with Game of Thrones, at least for those of us who’ve read the books (which is most of you, one presumes). Typically, “table setting” episodes are criticized for being too blatant in their machinations, working hard to set up things but resisting pulling the trigger before the stories’ respective climaxes. Personally, I find these episodes interesting when done well, but I will admit that there is something frustrating about an episode that simultaneously feels like a comedown from the episode before and works almost too hard to build anticipation for the episode that follows.

With Game of Thrones, though, we (mostly) know the episode that follows.

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Game of Thrones – “The Laws of Gods and Men”

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“The Laws of Gods and Men”

May 11, 2014

“We prefer the stories they tell. More plain, less open to interpretation.”

This is why the Iron Bank of Braavos prefers numbers.

They’re strange, in this way: whereas the other groups who jostle for power in Westeros (and across the Narrow Sea) are interested in histories and lineages, the Iron Bank is only concerned with numbers. It’s why they’re unmoved by Stannis’ claim to the throne by blood, and why they’re won over by Davos’ claim that Stannis is the closest Westeros has to a stable ruler should Tywin Lannister meet his end.

Interpretation is at the heart of law, of course, and of the men and women who enact it. Although the majority of the episode is taken up by an actual trial, the storylines that precede it show the reverberations of other forms of justice, in which similarly cruel acts are taken for fundamentally different reasons.

The question becomes whether history will interpret them differently.

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Game of Thrones – “First Of His Name”

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“First Of His Name”

May 4th, 2014

“I need to be more than that.”

There’s two characters that this week’s episode title refers to, even if only one is made explicit.

“First Of His Name” directly refers to Tommen, who is indeed the first King by that name to rule over Westeros. Tommen doesn’t actually do much in the hour, though, his fate a topic of conversation for those around him more than something he gets to decide on his own. Whether in Margaery’s conversation with her grandmother last week, or Margaery’s oh-so calculated performance with Cersei this week, or Cersei’s careful conversation with her father, Tommen’s future is very much a matter of procedure.

By comparison, however, Petyr Baelish makes his own procedure. There is no coronation for “Littlefinger,” as he operates in the slimy underbelly of the political underworld (yes, underworlds have underbellies). He comes from no strong lineage, with no family to support him or noble deeds to give him claim to glory, and so he has had to toil for everything he’s ever earned. He is the first of his name in a different way, in that he is the first member of his family to be Machiavellian enough to angle his way into a position of power, providing the foundation for a legacy of his own moving forward.

This balance between the self-made Littlefinger and the anointed Tommen sits on the periphery of an episode that functions as a highly logical mid-point of the season. And yet their respective paths are placed as guideposts for other characters who are faced with decisions that could lead them down one path or the other, depending on the choices they make in a moment of transition.

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What Genre Is This?: How We Classify Webseries

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Since I originally wrote a Tumblr post about it, I’ve been following college-set Romeo & Juliet adaptation webseries Jules and Monty, which wraps up its eighteen-episode run on Monday (May 5th). As that Tumblr post suggests, some of this has to do with a general appreciation of what the project represents, and the way the webseries form gives real college students the chance to produce and then distribute something that can reach potential fans in the same places where other big-name projects can be found. However, the show itself has been a compelling take on the material, and has been pushing at a question I’ve been puzzling over regarding webseries—and television more broadly, really—for some time.

It began with two relatively concurrent events. The first was the release of Episode 14 of the series, in which Jules is confronted by her brother, Cliff.

The episode is notable for the presence of a trigger warning, preparing its audience for the violence within. In a Tumblr post, executive producer Imogen Browder explains the logic behind the trigger warning:

“I knew that if that scene had affected me so much in the room, and I knew it was coming, then we would be doing a disservice to our audience to not give at least a simple warning—and based upon the reaction we’ve received, I’m glad it’s there. It was important to our team that we protect our audience, as no one wants to go on to YouTube expecting to see another montage and instead watch something that could potentially have a seriously negative effect upon them.”

In a response to that post, director Evey Reidy notes that the trigger warning conversation is ongoing within the theater community at Tufts (where the webseries and its cast and crew are based), placing this as part of a broader conversation within the world of the cast and crew. In both cases, the creative team reveals their belief protecting their viewers outweighs any sort of narrative purity (which would have, one presumes, maintained the shock of the moment rather than “spoiling” that Cliff would strike Juliet in the midst of their argument, a decision that reflects many adaptations of the source material).

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