Tag Archives: Analysis

April 1, 2012 · 8:54 pm

Season Premiere: Game of Thrones – “The North Remembers”

“The North Remembers”

April 1st, 2012

“For the night is dark and full of terrors.”

Game of Thrones is a very different show now than it was when the first season began last April. “Winter is Coming,” the series premiere, was an introduction to the world of Westeros, the characters who inhabit it, and the basic principles of honor which would be torn asunder over the course of the next ten episodes. It was a hint at the dangers that lurked beyond the wall, a glimpse of the paths being forged for those south of it, and a beginning of what would become a much larger, and on some level never-ending, journey.

By comparison, “The North Remembers” tells a very different story. Those dangers are now more real, those paths well trodden, and that journey more expansive than that first episode could have established. Where there was one king there are now four, each staking a claim on power that might well lie in the hands of those who wear no crown and yet play their games behind the scenes, and there are more Kings and Queens waiting in the wings for their opportunity to strike in the future.

However, the strategies of these two episodes are nearly identical, each tasked with providing a bird’s eye – or, rather, comet’s eye – view of the narrative map of the series as it stands at this very moment. While “Winter is Coming” was introducing characters for the first time, “The North Remembers” is fittingly enough about restoring the audience’s memory. Using similar strategies to the series premiere, the episode drops in on the various story threads we left back in June, a helpful reminder for those who haven’t revisited the first season on DVD or HBO Go.

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March 30, 2012 · 4:50 pm

A Westerossi Balancing Act: Game of Thrones Season Two [Review]

Review: Game of Thrones Season Two

March 29th, 2012

What do people really want to know about HBO’s Game of Thrones as it enters its second season?

When the first season premiered, writing a pre-air review was an easy process. Fans wanted to know how well George R.R. Martin’s A Song of Ice and Fire had been adapted for the screen by David Benioff and D.B. Weiss, and non-fans wanted to know if the result still qualified as a television show worth their time. These questions were conveniently interlinked, in that the show’s success as an adaptation (faithful but not slavish, episodic without losing broader narrative complexity) was very much part of its appeal to non-readers.

However, I found myself somewhat stumped as I sat down to write about the first four episodes of the second season. The challenge is that we’ve already answered those broader questions, and to my mind the answer hasn’t changed – the show is still a compelling and worthy adaptation of Martin’s series, and that still results in some tremendous television. I have some specific comments about nuances in the adaptation, and some opinions about how certain stories are being depicted, but I don’t feel as though I have anything new to add to the growing chorus of people praising the show upon its return as a preface to my post-air reviews which will go up over the next four weeks (and which will delve into those nuances and opinions in more detail).

Looking to solve my writer’s block, I opened up the conversation to my followers on Twitter and the users at NeoGAF (where a lively community has been built around the show), asking them whether they had any lingering questions they had which they didn’t feel had been covered by the mass of reviews to date. While I want to address a few directly, the larger takeaway was that readers and non-readers might have more in common as the show goes forward than I had presumed, a notion I’d like to explore further.

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January 16, 2012 · 4:02 pm

“This Season, on NBC’s Smash“: The Perils of the Extensive Post-Pilot Preview

The Perils of the Extensive Post-Pilot Preview

January 16th, 2012

It is no longer uncommon for networks to post pilots online in advance of their premieres, with FOX most recently using this strategy to help launch New Girl to some very strong initial ratings (which have since that point slid considerably, but remain fairly solid). It gives the shows increased visibility within an online space, turning savvy consumers (those who will find it on iTunes, or Hulu, or OnDemand) into an additional marketing segment who will put the word out just enough that those 100 million people tuning into the Super Bowl, and tens of millions who will watch The Voice for two hours before Smash premieres on February 6th, will hear whispers of the show before it’s plastered throughout those NBC broadcasts (and, as Mike Stein pointed out on Twitter, a single person who has seen and enjoyed the Pilot at a larger gathering could spread the word quite easily).

Like many others, I sat down with the Smash pilot via iTunes this afternoon – I had not seen the pilot when it was sent out to critics last Fall, so I was more or less seeing this in the fashion that NBC intended. The difference, though, is that I’ve read a lot about this show, and have seen enough trailers to understand its basic premise (and the basic beats of the pilot) more than the average viewer. As a result, while I would say that the Smash pilot is well-made, and there were parts of it I quite enjoyed (mostly surrounding the musical numbers at the heart of the story), I didn’t get that thrill of discovery that you ideally want to have with a television pilot.

NBC isn’t particularly concerned about this, either: while they’re playing coy with the musical numbers themselves, they included an extensive preview of the remainder of the season at the end of the pilot download, providing viewers with a surprisingly comprehensive overview of what is going to happen in the show’s first season (although it is unclear just how many episodes we see scenes from). It’s a move that’s not entirely common in this day and age, but it’s a move that I find eternally frustrating as someone who tries to avoid spoilers at all costs, particularly with reality shows like Project Runway or Top Chef where the basic structure is already so apparent.

The question becomes, though, why a show that does seem to have a strong serialized component (represented by the behind-the-scenes soap component of the series) would be so willing to reveal their cards before the show even begins. While I don’t know the actual answer to this question, I want to suggest (while offering some basic impressions of the drama, and some spoilery details for those who haven’t watched it or the preview that followed) that NBC is admitting up front that watching Smash isn’t going to be about surprise so much as spectacle, mirroring my own experience with the pilot and charting an intriguing if flawed course for the series moving forward.

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January 16, 2012 · 12:13 am

The Search for Significance: The Television Industry and the Golden Globes

Earlier this evening, my brother directed me to a piece at Slate defending the Golden Globes, something that we don’t see particularly often. Indeed, that is very much the impetus behind Tom Shone’s argument, praising the Globes relative to the Academy Awards for a collection of strong choices that the Academy would undo a month later (such as, for example, the Globes honoring Brokeback Mountain only for the Oscars to choose the turgid Crash instead).

Shone’s argument is interesting, primarily because it does little to hide its anecdotal nature. He argues that while we might contest many choices that the Globes have made over the years, they have done enough good in enough instances to be “worth it” in the end. While some might question the value of their existence, Shone believes that looking at even a handful of examples where they were legitimately ahead of the curve, or where their whims happened to match with how cinematic history would remember a particular year in film, justify any travesties they might otherwise commit.

My brother’s question to me, upon informing me of the article, was whether I would suggest the same could be said for television, a thought that I was preoccupied with throughout tonight’s Golden Globes broadcast. Whereas the Golden Globes line up comfortably as a precursor for the Oscars, the Globes’ relationship with the Emmys is complicated by their differing eligibility periods and voting structures. However, building on Shone’s argument, there was evidence within tonight’s broadcast that some of the Globes’ voting habits that we might otherwise vilify in particular contexts proved to benefit shows that I like, and shows that may not necessarily be lauded to the same degree come September.

My takeaway from this is not necessarily a validation of the Golden Globes or the Hollywood Foreign Press Association, but rather an increased belief that our assessment of award shows needs to become more nuanced, both in terms of how we perceive them as cultural entities and in terms of how we consider their industrial – as opposed to cultural – significance as a framework for understanding their greater “meaning.”

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January 8, 2012 · 9:00 pm

Season Premiere: Shameless – “Summertime” and Televisual Space

“Summertime” and Televisual Space

January 8th, 2012

After rewatching the entire first season over the holidays with my parents, I found myself enjoying Shameless more than when it premiered (as I wrote about soon after), and I looked forward to checking out the second season. What I wasn’t expecting, though, was to find it so disarmingly different from what we saw last year.

This isn’t to say that the show has dramatically changed its approach to storytelling, although there is evidence to suggest that they are finding better ways of balancing the different character dynamics based on reviews from critics who have seen beyond tonight’s premiere. Rather, the fast-forward to the dog days of summer has created both a temporal shift and, more importantly, a spatial shift in terms of the characters and the world they live in. More generally, though, the long summer days offer a plethora of sunlight, dramatically transforming the aesthetic of the show and signaling a new season in a very direct, meaningful fashion.

I realize that this is not particularly evaluative, and if we were to speak exclusively on those terms I found the premiere promising but uneven, but I want to spend a bit of time discussing these changes relative to the question of space, an increasingly important factor as worlds begin to converge in a new spatial dynamic within the series.

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January 2, 2012 · 1:10 pm

2011: The Year That Wasn’t – Community & Parks and Recreation

NBC’s Community and Parks and Recreation

Aired: January to December

I’m incredibly fortunate to be able to write about television for a wider audience at The A.V. Club, no moreso than with my weekly reviews of The Office. However, as the show’s eighth season has signaled a decided shift in the show’s critical and cultural position, I’ve had a number of people effectively express pity for my position, forced to review a show that is pretty comfortably past its prime (but with just enough life left in it to remind us of the show it used to be).

And yet I’ve never felt it to be a pitiable job: sure, it’s nice when you have a show that you really like to cover in a situation like this one, but the show’s decline has been fun to deconstruct, and creating a dialogue with both devotees and spurned viewers has been a valuable insight how that decline is being received. While I might not love The Office, I love the process of writing about it, even though I can fully understand why others don’t feel the same way (which is why the number of critics reviewing the show has dropped off this season).

However, I will say that there is one thing I resent about covering The Office, which is that it means I don’t have time to review Parks and Recreation and Community, the two shows which precede it within NBC’s Thursday night lineup (or, rather, preceded it, given that Community is being benched for at least a few months). While other critics have been able to adjust their priorities, dropping The Office while continuing to cover the two shows that arguably merit greater attention, I’ve spent my Thursday evenings watching The Office, writing about The Office, and then using Parks and Community as a chance to unwind without a laptop in front of me.

It’s a different way of viewing than I was used to, and it seems as though it has affected my opinion of the two shows differently. While I actually feel as though my appreciation for Community has dipped slightly as a result of this viewing pattern, my general sentiments about the series less than they might have been a year ago, something about the comparative simplicity of Parks and Recreation has really suited this more casual form of viewing.

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January 1, 2012 · 12:44 pm

2011: The Year That Wasn’t – Louie

FX’s Louie

Aired: June to September

When, as a critic, you stop writing about a number of shows, there is always the risk that your opinion will begin to lean towards the critical consensus, especially if that critical consensus is as effusive as the praise surrounding Louis C.K.’s second season of Louie on FX. Similarly, in circumstances where you fall behind on a particular show and begin to soak in all of this praise, it’s tough to view the episodes piling up on your DVR with fresh eyes.

Louie had a very strong second season, but something about the way I watched it kept me from considering it the best television of the year – this isn’t to say that The A.V. Club (and various other sites/critics) placing it as the #1 show of the year was “wrong” by any measure, but I will say that I did not come close to putting it in that position (and, if we’re being honest, probably placed it higher than my initial instinct due to the indirect influence of other critics). Perhaps it was that I felt my experience with the show was unduly influenced by the critical culture surrounding the series, or that my DVR catchup method somehow changed the series’ impact (with its episodic segments mashed together as opposed to being parceled out), but Louie didn’t jump out to me as the best show of the year (nor did it necessarily jump out at me as a comedy, but we’ll save that genre conversation for another day).

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December 31, 2011 · 12:26 pm

2011: The Year That Wasn’t – Shameless and Strike Back

Showtime’s Shameless

Aired: January to March

With Shameless starting its second season next weekend, and with my parents recently gaining access to an expansive OnDemand archive featuring the series, I’ve taken the past week or so to introduce them to the “deranged” – my mother’s word –Gallagher family.

It’s not often that I rewatch dramatic series in this fashion, and I couldn’t tell you the last time I managed it. I didn’t write about Shameless more than a handful of times when the first season aired earlier this year, but rewatching the show has made me wish I had, both because I find myself really enjoying the show (more than my review of the finale would suggest) and because I think writing about it would have helped me confront my frustration with one half of the series.

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December 31, 2011 · 11:10 am

2011: The Year That Wasn’t – A Cultural Rewind

“Introduction”

Looking back on 2011, I think it will be clearly marked as the year in which I no longer came to associate with the term “blogger.”

Now, to be clear, I do not mean to suggest that I have done so due to this term being derogatory: bloggers are good people, and serve as an important voice within the world of people who write about television (and, of course, numerous other subjects). However, more simply, I don’t think I updated Cultural Learnings enough in 2011 to justify laying claim to the title (given, for example, that this is my first post in well over a month).

The dropoff in posts has come out of necessity, primarily – the time I would spend blogging has been swallowed by increased responsibilities related to the “real life” side of my existence, which has left the “online life” side of things to occasional Twitter observations and my more “professional” work at The A.V. Club. On some level, my semester became a choice between continuing to watch television and writing about it, a devil’s gambit that led to a lack of content here on the blog and a surplus of content on my DVR.

I will admit, though, that I’m not entirely convinced I missed it. As Twitter becomes a more prominent form of discourse within the world of television criticism, and as my teaching responsibilities became more connected to the television I watch (and the meanings we draw from it), I haven’t felt as though I’ve said nothing about the things I’ve watched. However, I realize that on some level I’m going from over-explaining my thoughts about particular shows (like, for example, Community) to largely letting occasional 140-character observations represent my general opinion. I’m sure a psychiatrist would consider this a breakthrough given my penchant for verbosity, but it does create a vacuum of sorts for regular readers (especially those of you who might not use Twitter, who may think I’ve fallen off the face of the earth a bit).

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November 21, 2011 · 9:00 am

Transmedia Legitimation: Dark Score Stories and the A&E Brand

Transmedia Legitimation: Dark Score Stories and the A&E Brand

November 21st, 2011

When I was alerted to the existence of Dark Score Stories, the transmedia marketing initiative that serves as a prequel to A&E’s upcoming adaptation of Stephen King’s Bag of Bones, I was interested for two reasons.

The first is that Bag of Bones, a two-part miniseries starring Pierce Brosnan and Melissa George (among others) was actually filmed in my home province of Nova Scotia, which resulted in a large number of Brosnan sightings for friends and family and which meant that the photographs that comprise much of Dark Score Stories were in many ways a trip “home.”

The second, meanwhile, is that the campaign is being handled by the good folks at Campfire, who were kind enough to send along their work for their campaign for HBO’s Game of Thrones, and who have been equally kind in assisting me with further research in that area since that point. As a result, I was curious what their next major television project would entail, and how some of the transmedia lessons on display there have been transferred over to this initiative.

However, as effective as I think the campaign might be, I’m somewhat more interested in exploring the existence of the campaign than the campaign itself, although the two plainly go hand-in-hand. Looking through the book of photographs that A&E has sent out for the project, and the Dark Score Stories website, it is clear that Campfire has offered a vivid entry point into King’s fictional community, capturing the author’s trademark style while simultaneously introducing characters that will become more important in the film itself (which I have yet to see, but which I am interested to check out in December).

What intrigues me most, though, is the idea of how these kinds of transmedia experiences function in relation to channel brands, and in particular how those functions might differ with a television movie as opposed to an actual series. Obviously, there is an element of promotion to any initiative like this one, and the wide range of media coverage around the site was likely in many cases people’s first exposure to the film’s existence. However, while the momentum gained from Game of Thrones‘ campaign will carry into fans’ long-term engagement with the series over a number of years, Bag of Bones is an example of “event” programming, which to me creates a different set of expectations both for potential viewers and, perhaps more importantly, for the cable channel in question.

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