“Winter is Coming”
April 17th, 2011
“That’s an honor I could do without.”
The moment which brings “Winter is Coming,” the series premiere of HBO’s Game of Thrones, to a close is meant to shock the viewer. It is the very definition of a cliffhanger, a moment which makes us anticipate its resolution and theorize as to the result. I would also argue that it’s quite an effective cliffhanger, one which shapes the remainder of the series’ narrative and one which is tremendously well-rendered in this adaptation.
However, for those who have read A Song of Ice and Fire, the George R.R. Martin-penned novels on which the series is based, it isn’t a cliffhanger at all. In fact, for those viewers, it was never a cliffhanger: when the event in question took place on page 85 of my well-worn paperback, all one had to do was turn to page 86 in order to see what happened next. The cliffhanger would last mere moments, unless one somehow had the willpower to stop reading at that precise moment and return to the book a week later. Martin’s novels are designed to be devoured, not savored, and yet his story is now arriving in hour-long segments that will air once every week.
Ultimately, “Winter is Coming” demonstrates the compatibility of Martin’s novels and the televisual form: David Benioff and D.B. Weiss have brought Westeros to life by capturing the spirit of Martin’s prose and by embracing the opportunities presented by both the visual and structural qualities made possible by HBO’s commitment to the series. The episode is a compelling introduction to this story and these characters, successfully navigating the plethora of pitfalls that are created in an adaptation of a high fantasy series.
But at the same time, let’s be frank: everyone, from fans of the novels to those who don’t know their Starks from their Lannisters, will need to adjust to the particularities of this particular form of storytelling.
And thus the Game begins.
Cultural Learnings 
Questions of Taste: Dissecting the Dissection of Early Reviews of HBO’s Game of Thrones
Questions of Taste: Dissecting the Dissection of Early Reviews
April 9th, 2011
We are entering the period in which HBO’s Game of Thrones will be placed under the critical microscope – while a few early reviews (my own included, I guess) were overwhelmingly positive, it was inevitable that some less-than-positive reviews would filter in.
And thus begins the dance of deconstruction, as the reviewers interrogate the text and the fans interrogate the reviewers. It’s common practice in online criticism, although normally centered around films from beloved directors/studios or with considerable fan hype; by the time most television shows build up a substantial fanbase in later seasons, pre-air reviews are not particularly common, and are not nearly as contentious. At that point, the show has already been established, so a negative review is unlikely to make any real impact on a show’s success.
However, Game of Thrones‘ built-in fanbase has created a scenario not unlike the Rottenwatch trend within film, as each review is dissected and analyzed in order to explain – or, rather, explain away – the writer’s disappointment. Now, I have to be honest when I say that I generally find this practice problematic, especially since many of the people who are leading the charge have not actually seen the episodes in question (although I take their point that some of the reviewers make it seem as though they haven’t seen them either). While I think there is value in analyzing reviews of a particular program, and would certainly agree with some of the criticisms that fans have had for the reviewers in question, I find myself uncomfortable with some of the dismissal strategies being used in the process.
And, admittedly, I’m also uncomfortable that it’s only happening with the negative reviews.
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Tagged as Analysis, Armond White, Comments, Criticism, Gender, HBO, Journalism, Metacritic, Reviews, Rottenwatch, Television, TV