“Breaker of Chains”
April 20th, 2014
“I will not become a page in someone else’s history book.”
As is often the case with watching Game of Thrones as a book reader, I left “Breaker of Chains” with questions about how non-readers would receive the episode.
These are not simple evaluative questions like whether readers would enjoy this scene or that scene in the episode. Like most, it’s a compelling episode, with some fantastic scenes in the fallout of last week’s major events. Rather, they are questions of whether or not reveals that are obvious to readers—we know what’s about to happen—are anticipated by non-readers in the way the series would seem to be hoping for.
“The Lion and the Rose”
April 13th, 2014
“Blackwater” has often been cited as the definitive Game of Thrones episode, capturing the scale and sheer expense that have come to define the series within television culture. It was also an episode that George R.R. Martin scripted himself, finally seeing the scale he had taken to literature to obtain come to life onscreen (albeit still with a degree of sacrifice to his most ambitious visions for the episode).
At the same time, though, Martin’s scale only rarely manifests as the episode’s bombast. It tends to manifest in minutia, in the sheer detail of individual scenes. This has primarily come in the form of feasts, gallant affairs where Martin revels as much in the food on the table as the people sitting at it. It’s an effort to provide scale not in the form of giant explosions, but in the form of atmosphere—he wants you to feel like you’re there, which is often more about tone than anything else.
It’s something the show has rarely been able to communicate the same way: few scenes have lasted long enough to luxuriate in the environment, and to create that sense of becoming lost in the splendor. The closing sequence of “The Lion and the Rose”—detailing Joffrey and Margaery’s wedding and reception—is one of the first, a carefully designed piece of theater that is all about moving pieces, each more detailed than the next. It’s also a scene that deploys that detail for a specific purpose, crafting a sequence that builds to its conclusion at such a rate that even those who don’t know what’s about to happen know that something is about to happen.
That it’s something both readers and non-readers alike have been waiting for is just the icing on the cake.
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.