It is now widely accepted that the way we watch television is a variable – if you’re reading this, chances are that I don’t have to regale you with the myriad ways we can now watch the programming we’ve historically viewed live in primetime, and so I can keep my big “DVRs, Streaming, and Bears, Oh My!” song and dance in my pocket for the time being.
However, I would argue that Game of Thrones represents a specifically complicated television text in this regard. Like all shows, there are questions of how it played on a week-to-week basis compared to how it would play as a marathon, questions that partly inspired the tremendous discourse around television narrative spurred on by Ryan McGee’s essay at The A.V. Club. However, in addition, the variables of consumption around the show are equally divided by the nature of its source material, with perhaps the clearest binary between “reader” and “non-reader” in television history. The result, I would argue, is a complex, diverse audience base who watches the show from different perspectives which make it difficult to generalize regarding what attracts them to a DVD or Blu-ray box set.
However, with Game of Thrones‘ Complete First Season (which I reviewed on Blu-ray), I really think HBO has succeeded in creating a set that has more than a little something for everyone, worth the price of admission for both readers and non-readers alike (along with those who are watching for the first time, for whom this set is a tremendous introduction). The production values are exceptional, the features are fairly plentiful, and the set fits comfortably into the quality aesthetics that both the show itself and the earlier paratexts achieved last year.
And yet, while I can easily recommend this set based on its own merits, there’s still some part of me who was left wanting, if not something more, than perhaps something different.
Last week, Craig Ferguson dedicated almost an entire episode to a television show. Now, this isn’t entirely uncommon in television talk shows, but it’s normally someone like Oprah searching for the zeitgeist by introducing the cast of Glee or something. Ferguson, meanwhile, wasn’t chasing the zeitgeist so much as he was chasing the T.A.R.D.I.S., dedicating an entire hour to British sensation Doctor Who, which remains just a cult favorite on this continent (you can see Ferguson’s interview with Matt Smith on YouTube).
It was a nice reminder that Doctor Who’s fifth “Series” was one of this year’s television highlights, regardless of which side of the pond you may be on. As someone who had seen only bits of pieces of the series in the past, the arrival of a new Doctor (played by Smith, Ferguson’s guest of honor) and companion in Karen Gillan’s Amy Pond seemed like as good a time as any to jump into the phenomenon.
BBC America was kind enough to send along a copy of the Blu-Ray – which was released on November 9th and can be purchased at the BBC America Shop – for review purposes, but unfortunately it was sent to my Canadian address. However, that’s sort of ideal, as it means that my brother might be able to experience what I did when I chose to dive into the series at this “late” point.
Agency begets Tragedy: AMC’s Breaking Bad
March 18th, 2010
Last night, as Todd VanderWerff and I talked about this year’s Emmy awards on Twitter, he remarked that Breaking Bad will always be held back at the Emmys thanks to its Albuquerque setting – by filming outside of Los Angeles, and outside of more acceptable industry alternatives like Vancouver or New York, the show is alienated with primarily L.A.-based voters. My response to this was to make what, on the surface, seems like a really complimentary comparison: Breaking Bad, in other words, is the new The Wire, another show that by shooting in an off-market city (Baltimore, in the case of The Wire) was never able to get as much respect as it perhaps deserved.
Now that I’ve finished the second season of AMC’s second original series, this comparison is infinitely more interesting than I had imagined it last evening. While I love The Wire, and fell in love (in an entirely non-romantic way, considering the darkness of the show) with Breaking Bad over the past few weeks, the two shows couldn’t be more different in terms of how they represent agency. While The Wire tends to argue that the organizations which govern both sides of the law are inevitably corrupt and fraught with challenges that prevent all but a lucky few from rising above it, Breaking Bad offers Walter White countless opportunities to escape the life he has chosen to live, and at every turn he makes personal decisions that send him further down his dark path.
If I tried to talk about everything I had to say about the first two seasons of the show, I would be writing for days, so instead I’m going to focus on a few elements of the series (many relating to questions of agency) that I thought were particularly effective. If you have yet to watch the series, I can’t recommend it enough if you’re not afraid to watch something that’s morally compromising and unafraid to go to some very dark places – this isn’t a show for everyone, but it’s fantastically well-made, and you can all look forward to reviews of the show’s third season starting on Sunday.