April 24th, 2011
“You’re not supposed to be here.”
In chatting with one of my colleagues who has not read A Song of Ice and Fire earlier this month, he raised an interesting question: why, precisely, do some Stark children go to King’s Landing while others remain in Winterfell?
It was a question that never occurred to me while watching “The Kingsroad” since I already knew the answer before I popped in the screener, but it’s one that strikes me as important during these early episodes. There is no avoiding the fact that Game of Thrones has a dislocated narrative, with various locations (highlighted in the opening credit sequence) housing storylines that are often operating on their own frequency, and such dislocation risks feeling arbitrary. It is, arguably, the greatest challenge that Benioff and Weiss faced with the adaptation, and facing that challenge will require more than a clever title sequence that places the various locations into context.
“The Kingsroad” is the first stab at really tackling this challenge through thematic material, something that embraces the parallel storytelling that the series necessitates (as compared to the books, which go long stretches without visiting particular locations/characters). While the shifts in location were minimal (and very strategic) in “Winter is Coming,” with “The Kingsroad” we see a more traditional structure wherein we consistently shift from one location to another, a structure united by a growing sense that these characters may wish they had taken a different fork in the road.
It doesn’t quite bring the entire episode together, but the maps drawn for each of the show’s numerous storylines are at least all on the same piece of paper, and focus on the degree to which each individual character is prepared for the path that they have chosen (or that has been chosen for them).
November 1st, 2009
There’s been an ongoing debate amongst Mad Men viewers about how the show should ideally be handling the intersection of its fictional characters and the historical events that happen around them during the 1960s. Some have argued that the uncontrollable impact of history is almost too powerful for the show, overwhelming its characters and distracting from the more interesting elements of the show, but others have indicated that the cultural upheaval is integral to understanding how these characters are acting and how this decade is changing them. If I had to place myself within these two camps, I’d probably place myself into the latter, although admittedly I take the point of the former group in regards to the third season’s penultimate episode.
Harmed both by our prior knowledge of the episode’s central tragedy, young Margaret Sterling’s wedding falling the day after the assassination of President John F. Kennedy and by a lack of a connection between that tragedy and the character motivations on display, “The Grown-Ups” works perhaps too well to capture the chaos that surrounded these November days. Rather than the chaos disrupting a clear sense of order, it came amidst a false sense of stability that crumbled suddenly, yes, but not as subtly as it needed to. This isn’t to suggest that the episode was a failure, or that it didn’t offer a stark depiction of these tragic days, but the combination of an oft-dramatized moment in history and a lack of character actions that felt distinctly of this show’s universe ended up making this one a bit less exciting than perhaps it seemed in theory.
“Suck ‘n’ Spit”
August 3rd, 2009
What I’ve always found interesting about Weeds is that it has been very careful about limiting the consequences from Nancy Botwin’s actions. Yes, bad things have happened, but they have always seemed to happen to people who are only indirectly related to the Botwin family: sure, her once husband was amongst those who fell victim to being in Nancy’s presence, but for the most part (outside of perhaps Silas’ broken arm and a few minor run-ins) the amount of crossfire that her family and friends have seen as a result of her actions has been limited.
In “Suck ‘n’ Spit,” we have a serious bit of consequence, perhaps the most serious we’ve seen yet. To get to that point, the episode didn’t particularly go anywhere all that interesting, investigating to varying degrees the total loss of normalcy (or, in some instances, the characters’ ability to engage with a new definition of the term) in their lives.