Tag Archives: Ned Stark

Game of Thrones – “The Pointy End”

“The Pointy End”

June 5th, 2011

“Written by George R.R. Martin”

The credits for Game of Thrones has always read “Created by David Benioff and D.B. Weiss,” but the question of authorship has always been considerably more complicated. The fact is that this is very clearly George R.R. Martin’s world, and George R.R. Martin’s characters, and even George R.R. Martin’s story – while we can certainly argue that Benioff and Weiss have taken certain liberties, adding scenes and shifting character allegiances, it has not utterly transformed Martin’s vision. And yet, at the same time, we can’t say that this is Martin’s show, as he was ancillary to the myriad of decisions which move beyond the initial creation to the execution and design. A Song of Ice and Fire may be his story, but Game of Thrones is not his television show, and there’s an odd shared ownership of Westeros that has been evident throughout the season.

I say evident, mind you, and not problematic. The scenes that have been added have been strong, and the decisions made have been mostly logical if not necessarily ideal in every instance (or for every fan). However, here you have an instance where the person doing the adaptation is Martin himself, given a chance to return to key moments and characters and tell the same story all over again. And yet, he’s now working within someone else’s show even when he’s working within his own story, an intriguing scenario that I thought going in might make for an intriguing case study.

However, there’s honestly nothing to really see here: while this is a very strong outing, and maintains the momentum from last week’s episode quite brilliantly even as it hits the fast forward button on the narrative action (and thus risks missing key pieces of the puzzle), I don’t think we see some sort of crisis of authorship. Martin’s return coincides with the period where exposition goes out the window, and where major story events are starting to take shape. It is a period where characters are making decisions instead of pondering them, and where key themes are beginning to filter throughout the storylines at a rapid pace, and so any authorship is swallowed up by the sheer presence of the realm and those outside its borders who threaten it.

In other words, it’s just as Martin intended it, and thus as Benioff and Weiss intended it as well.

Continue reading

16 Comments

Filed under Game of Thrones

Game of Thrones – “You Win or You Die”

“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.

Continue reading

190 Comments

Filed under Game of Thrones

Game of Thrones – “A Golden Crown”

“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.

Continue reading

3 Comments

Filed under Game of Thrones

Game of Thrones – “Lord Snow”

“Lord Snow”

May 1st, 2011

“I wanted to be here when you saw it for the first time.”

In the opening moments of “Winter is Coming,” we saw the Wall for the first time. Directly after the credits rolled, we first set eyes on Winterfell. Shortly thereafter, we visit King’s Landing for a brief moment as Cersei and Jaime discuss the secrets that may have died with Jon Arryn.

These were the first moments that we, as viewers, saw these pivotal locations in this series, but two of these were never formally introduced: Cersei and Jaime rode north to Winterfell soon after that conversation, and we saw only a brief glimpse of The Wall at the conclusion of “The Kingsroad.” Our focus was on Winterfell, and on the parties who set forth from its walls, and on Dany’s struggles across the narrow sea.

In “Lord Snow,” the Wall becomes more than an imposing structure, and King’s Landing becomes more than a geographical entity. The episode opens with Ned riding into King’s Landing and immediately finding himself in a meeting of the Small Council, while we are catapulted into Jon Snow’s first training session with Ser Allister Thorne without any glimpse of his initial arrival. There is no time to rest or become acclimated to their new surroundings, as life in King’s Landing and life at Castle Black hold a new set of challenges which will shape the episodes to follow.

And yet, “Lord Snow” is perhaps the most narratively uninteresting episode of the first six, almost like a second pilot where no story truly finds its footing. While the political organization of King’s Landing is sketched out, and the reality of being a brother of the Night’s Watch is well-established, the actual payoff for these events are left for the subsequent installments. Returning to this episode after having seen that which follows, I found myself appreciating what it accomplished without necessarily finding it satisfying, the first episode where the narrative feels limiting rather limited.

Continue reading

25 Comments

Filed under Game of Thrones

Series Premiere: Game of Thrones – “Winter is Coming”

“Winter is Coming”

April 17th, 2011

“That’s an honor I could do without.”

The moment which brings “Winter is Coming,” the series premiere of HBO’s Game of Thrones, to a close is meant to shock the viewer. It is the very definition of a cliffhanger, a moment which makes us anticipate its resolution and theorize as to the result. I would also argue that it’s quite an effective cliffhanger, one which shapes the remainder of the series’ narrative and one which is tremendously well-rendered in this adaptation.

However, for those who have read A Song of Ice and Fire, the George R.R. Martin-penned novels on which the series is based, it isn’t a cliffhanger at all. In fact, for those viewers, it was never a cliffhanger: when the event in question took place on page 85 of my well-worn paperback, all one had to do was turn to page 86 in order to see what happened next. The cliffhanger would last mere moments, unless one somehow had the willpower to stop reading at that precise moment and return to the book a week later. Martin’s novels are designed to be devoured, not savored, and yet his story is now arriving in hour-long segments that will air once every week.

Ultimately, “Winter is Coming” demonstrates the compatibility of Martin’s novels and the televisual form: David Benioff and D.B. Weiss have brought Westeros to life by capturing the spirit of Martin’s prose and by embracing the opportunities presented by both the visual and structural qualities made possible by HBO’s commitment to the series. The episode is a compelling introduction to this story and these characters, successfully navigating the plethora of pitfalls that are created in an adaptation of a high fantasy series.

But at the same time, let’s be frank: everyone, from fans of the novels to those who don’t know their Starks from their Lannisters, will need to adjust to the particularities of this particular form of storytelling.

And thus the Game begins.

Continue reading

15 Comments

Filed under Game of Thrones