Season 4, Episode 6
May 26, 2017
In a post last week, I explored the somewhat unclear approach that Skam has taken to its hiatuses in the past three seasons. Some have argued that time passes in the show as it did in real life during these breaks, but others have suggested the gap in time is simply ignored. There is no definitive answer to speak of here, and so the conclusion is that it has been left ambiguous: you can either read the missing time into the narrative or you can presume the show is picking up more or less where it left off. (I’ve seen both positions defended very aggressively).
However, regardless, it is safe to say that viewers had to wait a week between episodes, and spent that week pondering the events from the karaoke party. What happened with the fight? How did Noora and Yousef end up hooking up? What’s the full story behind the Pepsi Max girls’ efforts to push Sana out of the bus? The hiatus forced us to sit with these questions, think about our own reactions to them, and wonder how Sana would react when the show returned.
And then the show returned, and it spent an entire week on Sana sitting with these questions, thinking about her reactions to them, and then deciding how to react.
The result is an episode that is well executed in the abstract, but seems poorly calibrated to the reality of the preceding hiatus.
“Unbowed, Unbent, Unbroken”
May 17, 2015
As noted last week, my reviews of Game of Thrones have shifted to The A.V. Club, but I will continue to link them here for regular readers. Warning: These are reviews intended for book readers, so if you want to know absolutely no small details about the story as told in the books, you may want to steer clear.
Game of Thrones – “Unbowed, Unbent, Unbroken” [The A.V. Club]
The nature of episodic television reviews means that we don’t know if it will be the same this time. I want to believe that this rape is not simply being used as an escalation of Ramsay’s evil, given that it would be highly unnecessary. I want to believe that Sansa’s redemption arc will not simply view her rape as a generic narrative turning point. I want to believe that this rape will be treated like a rape, and justly punished (perhaps by someone who was nearly raped herself earlier in the series). I want to believe all of this because I want to think the show has learned a lesson from the previous instances, and chosen to echo Dany’s marriage to Kahl Drogo by giving Sansa more agency and allowing this rape to remain a rape even after Sansa fights back against Ramsay. I want to believe that if the show is in uncharted territory in terms of source material and chooses to use rape as a narrative tool, they have a good reason, and didn’t just fall back on this as a problem-solving tool.
“House of the Rising Sun”
Aired: October 27, 2004
[I’m going to be taking over The A.V. Club’s TV Club Classic reviews of Lost tomorrow—in preparation, I’m offering some short thoughts on each of the episodes Todd VanDerWerff already covered at the site.]
Whereas Jack’s flashback in “White Rabbit” leaves out huge swaths of his life, narrowing in on one part of his identity in his relationship with his father and not even offering insight into decades of that relationship, Jin and Sun’s flashback in “House of the Rising Sun” is a fairly complete narrative. We don’t see the moment they meet, sure, and there are large narrative gaps (captured with elegant efficiency by the age of the dog) that pose questions, but there is a clear certainty to this story that makes it among the most effective flashbacks in the series’ run.
“The Laws of Gods and Men”
May 11, 2014
“We prefer the stories they tell. More plain, less open to interpretation.”
This is why the Iron Bank of Braavos prefers numbers.
They’re strange, in this way: whereas the other groups who jostle for power in Westeros (and across the Narrow Sea) are interested in histories and lineages, the Iron Bank is only concerned with numbers. It’s why they’re unmoved by Stannis’ claim to the throne by blood, and why they’re won over by Davos’ claim that Stannis is the closest Westeros has to a stable ruler should Tywin Lannister meet his end.
Interpretation is at the heart of law, of course, and of the men and women who enact it. Although the majority of the episode is taken up by an actual trial, the storylines that precede it show the reverberations of other forms of justice, in which similarly cruel acts are taken for fundamentally different reasons.
The question becomes whether history will interpret them differently.
May 5th, 2013
“If you think this has a happy ending, you haven’t been paying attention.”
“The Climb” begins with three groups of characters who share a common goal: reaching The Wall. While Jon and Ygritte are with the wildlings as they prepare to scale it, Bran and Sam are moving toward the Wall from opposite directions.
For viewers, The Wall has been a prominent object for the series, one of the first images we saw to introduce a sense of the scale of Westeros. It’s a prominent part of the credits, sure, but it was also key to the series’ prologue. When Jon Snow saw the Wall for the first time, it was a formative moment for the character, just as it’s foretold as a prominent moment for Gilly, who can’t even imagine the stories Sam tells her about the structure. It’s something so large that it persists even for those who have never laid eyes on it, something that holds power even when the vast majority of its expanse lies unguarded. The Night’s Watch may be in charge of protecting the Wall, but the Wall does most of the protecting itself, a single crack in the ice capable of nearly killing the entirety of the Wildling party.
The “Game of Thrones” would be difficult enough if its only threat were static obstacles like The Wall (or the threat of the White Walkers beyond it, which is ostensibly still the most prominent threat to the entirety of Westeros). But “The Climb” isn’t a solitary activity, something that you can survive on your own: there’s always someone there to cut your rope, or stand in your way, or give your life new—often less—meaning at the drop of a hat. With its central metaphor, “The Climb” reminds us that no climb is without the threat of not simply missing a foothold but someone doing everything in their power to make sure that no foothold even exists, a dark and often foreboding episode that despite closing on a hopeful moment offers little evidence of hopefulness overall.
July 24th, 2012
The concluding scene in “Movie Truck” is offered without any context, a coda in which Sasha performs a dance routine to a They Might Be Giants rendition of “Istanbul.” While the episode has a number of key revelations for Sasha as a character, none of them particular tie into that song, or that performance, and even the co-writer of the episode (Beth Schacter) admitted on Twitter that it was, well, “weird” (in addition to other adjectives).
However, it was a bit of weirdness earned by an episode that did a lot of things right, perhaps because of the fact that the show was finally allowed to breathe without Fanny there to suck the air out of things. When Kelly Bishop was only listed as a guest star in the early going, it felt like a death knell for the series, making it that much easier to jettison the mother-/daughter-in-law storyline in favor of the young teens closer to ABC Family’s target demographic. And yet while I continue to like Kelly Bishop’s performance, the show’s rhythms felt much stronger when she was off vacationing than when she was largely serving as an obstacle for Michelle to overcome.
“The Old Gods and the New”
May 8th, 2012
As I had noted on Twitter, and as many of you seem to have discovered after visiting the site yesterday, this weekend didn’t provide enough time to do a full review of “The Old Gods and the New” justice. However, David Chen at /Film and his podcasting partner Joanna Robinson were kind enough to have me on “A Cast of Kings,” their Game of Thrones podcast, for a discussion about the episode.
A Cast of Kings S2E06: The Old Gods and the New – /Film
A Cast of Kings is a podcast featuring recaps and reviews of each week’s episode of HBO’s Game of Thrones. This week, Joanna and Dave discuss the second season’s sixth episode, The Old Gods and the New. Special guest Myles McNutt joins us from Cultural Learnings.
It’s a lengthy and diverse discussion, ranging from more serious considerations of how the show has changed from the books to equally serious conversations about Ygritte’s strategic body movements. It’s quite a fun show, I thought, so if you want to know more of my thoughts on the episode it’s a fine way to spend roughly an hour of your time.
If there are any other issues you’d like to discuss about the episode, feel free to leave a comment below and I’ll hope to chime in. In the meantime, you could also head back to listen to past “A Cast of Kings” episodes.
August 21st, 2011
Admittedly, I am once again delayed in getting to Breaking Bad by another commitment (this time covering The Glee Project finale over at The A.V. Club), but I also think it’s another episode where an extra-long treatise feels sort of unnecessary.
“Cornered” is another straightforward hour for the show, getting right to the point thematically and having the characters more or less follow suit. Walt, in particular, has been an open book in recent weeks, at least to an audience that has been watching the show all along. It’s not quite a cry for help, as Skyler diagnoses it early in the episode, but I do think that it’s an obvious sign that Walt’s worst neuroses are rising to the surface.
And that Walt and Jesse are as much alike as ever before.
“A Golden Crown”
May 22nd, 2011
“That was not Kingly.”
Considering the title of the series, and the number of people who appear to be playing the eponymous game, the notion of what makes a true ruler is growing increasingly important as Game of Thrones continues its run. We’ve seen numerous conversations about what it takes to lead Westeros, as Viserys fights to reclaim his throne, Robert fights to keep it, and others on the margins consider whether it is a job they would ever truly desire (Renly, Joffrey, etc.).
We get some definitive action on this accord in “A Golden Crown,” which reveals a more deep-seated question of identity within these kingly questions. Throughout the various stories, notions of power and leadership are merged with questions of gender and sexuality while the duplicity of numerous figures is highlighted in order to further expand the series’ complexity, and further break down any single image of what it means to be the leader of Westeros.
February 24th, 2011
Of the first six episodes initially sent to critics, “Indianapolis” is the most subtle. It’s a straightforward pairs of comic setpieces: a dinner party and a night out at the Snake Hole have the characters moving away from the Harvest Festival in order to get some time to focus on the characters themselves. While the commendation for the Harvest Festival technically draws Leslie and Ron to Indianapolis, the episode investigates what happens after the ongoing storylines which have dominated the show since Ben and Chris’ arrival start to come to a close.
This is actually the last episode that I screened in advance, and it’s also the last episode to air until March 17th, but I think it’s a very strong note to go out on. Without a major guest star, and without a standout “scene” of the likes of “Stop. Pooping” or Ben’s breakdown on Ya Heard with Perd, “Indianapolis” is just a very funny episode of what is clearly a very funny show.
And yes, that’s apparently the extent of critical analysis that a show in this much of a groove inspires.