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Game of Thrones – “Blackwater”

“Blackwater”

May 27th, 2012

“The worst ones always live.”

The discourse around this week’s episode of Game of Thrones has been fascinating to watch. For fans of the series, particularly those with familiarity with George R. R. Martin’s novels, “Blackwater” was always going to be the season’s high point: scripted by Martin himself, and focusing on a large-scale battle central to A Clash of Kings (and A Song of Ice and Fire as a whole), no fan of the series needed to be convinced to tune into this particular hour.

And yet HBO has very much promoted the episode as though people needed convincing. Press were alerted to an extended promo in advance of last week’s episode, an interview with producers Benioff and Weiss hit Entertainment Weekly as soon as “The Prince of Winterfell” concluded, and the Game of Thrones twitter account has been pushing the “#Blackwater” hashtag throughout the week, retweeting responses from those anticipating the episode.

I’ve found all of this fascinating because this feels strange when promoting the ninth episode of the second season of a television show. While this promotion serves the show’s fanbase, building further anticipation and increasing engagement and attachment to the series among those fans (as the Twitter account aims to do every week), it seems hard to imagine that the expanded discourse around this episode would convince anyone who hasn’t seen the previous eighteen episodes to tune into this one. HBO’s promotions have positioned “Blackwater” as “Event Television”—or perhaps “Event NOT Television” if we want to get take their slogan at its word—rather than simply an eventful episode of Game of Thrones, placing further expectation on an episode that was already burdened with both fan anticipation and the narrative pressure of serving as the season’s penultimate hour.

“Blackwater” answers these expectations by steering away from most of them. Isolating Stannis’ attack on King’s Landing and the storylines found within the city, the series tells a contained story about a war and the people who fight it. It would be a dangerous move if the episode had disappointed on that front, abandoning the other half-dozen narrative threads left hanging at the end of last week’s hour, but “Blackwater” is a tense, thrilling hour of television that lives up to its event billing and delays—rather than interrupting—the narrative climaxes which will now carry into next week’s finale.

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