September 16, 2013 · 8:00 pm
Earlier today, HBO announced it was picking up Damon Lindelof’s The Leftovers; this wasn’t a surprising pickup given the talent involved, but what was a bit more surprising was that the series is not being produced in-house at HBO.
Although HBO has been developing drama projects through other studios for a while now—always through big-name producers like Lindelof, or Shawn Ryan, or Ryan Murphy, or J.J. Abrams who are under overall deals with studios like Warner Bros., Sony Pictures Television, or 20th Century Fox—it was still a surprise to see a press release show up in my inbox from Warner Bros. Television about an HBO show. The Leftovers is the first such show to be ordered to series, and thus the first in what is likely to be a string of new HBO shows that they don’t fully own (although as was noted on Twitter, Time Warner owns HBO, so this remains in the corporate family).
It’s not uncharted territory for HBO (who co-produced Sex & the City with Warner Bros., and who entered a similar deal with ABC for Stephen Merchant’s Hello Ladies due to their overall deal with co-writers Stupnitsky/Eisenberg), but it’s a reversal of their more recent policy of owning shows they air and also the opposite of what’s happening in basic cable. At the same time AMC is shying away from working with studios like Lionsgate or Sony Pictures Television in the wake of disputes with those producers on Mad Men and Breaking Bad, HBO is reopening its doors to other studios, an interesting shift that privileges an emerging trend in development while—potentially—de-emphasizing a focus on distribution central to the HBO model.
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May 29, 2011 · 8:57 pm
“You Win or You Die”
May 29th, 2011
“It’s the family name that lives on. It’s all that lives on.”
[You can also hear additional thoughts on this episode in a special edition of the Talking TV with Ryan and Ryan podcast that I participated in.]
[Also, for more on “Sexposition,” check out my review of Season 2, Episode 2, “The Night Lands”]
There has been a lot of conversation surrounding the question of exposition with Game of Thrones, understandable given the high volume of material that has been revealed through conversations in an effort to capture the complexity of George R.R. Martin’s world.
“You Win or You Die” is not particularly exposition heavy, although there is one example that I will break down in greater detail, but the function of exposition is to provide a sense of history and context and I would argue that this episode is very interested in this idea. Some have argued that flashbacks might be considered another way to provide insight into history, and that it would beat the somewhat sloppy exposition that has to this point been deployed, but I would ask this: is the point of exposition to inform or remind the audience of particular information, or is it designed to inform the audience that the particular information in question is, in fact, important enough to be discussed in this context?
The answer, as always, is that it is meant to function as both, but I think those decrying the very existence of exposition in its current form should consider the latter more carefully. The role of history within this world is an important theme that is highlighted in “You Win or You Die,” as various threads comes to a point where the past is either given new meaning or forgotten entirely.
Or, rather, forgotten in some circles and remembered in others.
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Filed under Game of Thrones
Tagged as Analysis, Cersei, Dany, Episode 7, Exposition, HBO, HBO Go, History, Jason Momoa, Joffrey, Jon Snow, Khal Drogo, King Robert, King's Landing, Lena Headey, Littlefinger, Mark Addy, Ned Stark, Osha, Renly, Review, Ros, Sam, Sean Bean, Season 1, Sexposition, Television, The City Watch, The Night's Watch, The Wall, TV, Tywin, You Win or You Die
May 22, 2011 · 10:56 pm
Winter Comes Early: Access and HBO Go
May 22nd, 2011
When HBO announced that they would be premiering the seventh episode of Game of Thrones‘ first season on HBO Go immediately following the conclusion of episode six, I was more fascinated than excited.
I think HBO Go is a really interesting initiative that has the potential to play an important role in the future of the channel’s programming. Not only does it offer a new platform in which users can legally access the network’s database almost in its entirety, but it also creates new potential for special features being integrated into the weekly viewing process, and makes the network’s content more readily mobile. When I talked with my cable company to subscribe to HBO earlier today (after having relied solely on screeners to this point), the friendly customer service representative had a whole spiel about HBO Go ready to go, and was clearly using it as a pitch to draw in potential subscribers.
Premiering an episode early is a great way to make users more aware of the service, especially when dealing with the Game of Thrones fanbase who might not normally be HBO subscribers (and who might have only signed up this week, having relied on nefarious methods to this point in the series’ run); if they go to the site to watch episode seven early, they might also check out the pilot for True Blood, and might get hooked enough that they maintain their HBO subscriptions following the Game of Thrones finale.
However, there lies a central concern with HBO Go that makes this kind of initiative somewhat problematic: as a result of the nascent state of the site, a number of cable providers have not been able to strike deals with HBO to feature the service, and since it is tied directly into your cable account this means that a large number of people who are paying for HBO subscriptions do not have access to this sneak preview. While there is clear value from a promotional point of view in an initiative like this one, I do wonder if the way in which it divides the series’ fanbase and potentially bifurcates the conversation surrounding the series doesn’t demonstrate the perils of messing around with serialization in this fashion.
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Filed under Game of Thrones
Tagged as Access, Analysis, Brand, Cablevision, Fandom, HBO, HBO Go, Marketing, Online, Sneak Preview, Streaming, Television, Time Warner Cable, True Blood, TV, You Win or You Die