“The Prince of Winterfell”
May 20th, 2012
“One game at a time, my friend.”
Tyrion speaks true, in this instance: for the last two weeks, I’ve prioritized my professional responsibilities over what are ultimately my personal ones, meaning that writing about Game of Thrones became infeasible. Accordingly, one might expect that I’d have a lot to say about “The Prince of Winterfell,” the eighth episode of the show’s second season, given that I haven’t had a chance to say anything about the two episodes that came before.
However, in all honesty, we are reaching the point in the season where I don’t have a whole lot to say. With very little being introduced, and with so many storylines fully in motion, evaluating the show at this point is difficult: we have not yet reached the climax, the moment where everything is meant to coalesce, but we are also past the point where new ideas are being introduced. “The Prince of Winterfell” falls pretty much in line with what we’ve seen in the past few episodes, taking us mostly down a logical path toward what previews for next week position as the “Clash of Kings” that the season’s literary origins refer to.
Until we reach that point, though, the show is continuing to ignore Tyrion’s advice and tackle as many games as it possibly can. It’s a strategy that makes “The Prince of Winterfell” a wide-ranging episode which has to do a little work in a lot of places to get the show into position for the next moves in a whole new set of directions.
“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.
“The Ghosts of Harrenhal”
April 29th, 2012
“I still can’t believe that you’re real.”
Perhaps it’s my relatively unromantic disposition, but I’ve never really considered love in the context of Game of Thrones. It’s obviously part of Martin’s books, but it’s so often quashed, or forbidden, or broken, that it’s hard to identify it as one of the key themes (or even as a theme in some instances). However, as I noted in last week’s review, the introduction of Robb’s love interest reminded us that romance and desire are not entirely foreign concepts within the framework of this story.
However, as “The Ghosts of Harrenhal” observes (and as we’ll see continue into next week’s episode as well), that love is rarely consummated. Sam speaks of Gilly in hypotheticals, in love with a memory more than a real person, while Jorah’s love for Dany (captured in the quote above) makes both of them uncomfortable, an unspoken reality they dare not bring to the surface lest it shatter their existing relationship. In other words, their love remains unromantic out of fear of what romantic love would look like, relying instead on the love you have for a brother or a sister or for your King. It’s this love that ultimately threads through “The Ghosts of Harrenhal,” and the season at large, and it’s a love that may be equally tenuous depending on its object.
“Garden of Bones”
April 22nd, 2012
“Too much pain will spoil the pleasure.”
One of my general criticisms for “Garden of Bones,” which is Vanessa Taylor’s first script credit on Game of Thrones after joining as a co-executive producer this season, it’s that choosing a pull quote was a bit too difficult. It was an episode filled with lines that felt like they were aiming too much towards broader thematic ideas, pulling me out of the moment and placing me into the head of the writer.
It doesn’t mean that the episode isn’t filled with a lot of great sequences, or that those lines aren’t evocative of key themes that are valuable to the series’ future. However, there’s something about the episode’s exposition that calls attention to itself: a rarely seen character emerges with new confidence early on so that his comeuppance later has relevance, a single character out of a larger group is awkwardly signaled out by his full name for no reason other than informing the viewer who he is, and another name is conveniently used in a conversation just as another character needs to learn it.
It’s not enough, as noted, to entirely derail the larger function of “Garden of Bones,” but there does come a point where an episode that begins with a Westerossi Meet Cute begins to flow less naturally, a point that this episode reached as the exposition burden of the early parts of the season seems to come to a head.
“What Is Dead May Never Die”
April 15th, 2012
“They are the knights of summer, and winter is coming.”
This central idea has been at the heart of Game of Thrones from the very beginning: the children we’ve come to know, and the younger characters who jostle for power, do not know the true struggles of both the actual winter (starvation, struggle) and the metaphorical winter (war, bloodshed) that await them in the future.
Unfortunately, almost all of these characters have been faced with this reality sooner than they anticipated, pushing characters like Sansa and Arya Stark, Theon Greyjoy, and Renly Baratheon into positions where they must reconcile their fears and insecurities with a path they might not have chosen if not for the circumstances. Their struggles, however, must remain largely personal: while Theon Greyjoy might struggle to decide between his two families, for example, he has no one on the Iron Islands to talk to but a single flame and a piece of parchment. When he chooses to burn what he’s written, he makes his decision by isolating himself and accepting that this is his burden to bear as his father’s son.
“What Is Dead May Never Die” is about exploring these kinds of relationships, and exploring really is the right word: although partnerships both begin and end in the episode, other scenes are more about the complicated politics of those partnerships as winter approaches. While the show is still at the point where plot remains on the backburner, the pieces moving into place no longer seem motivated by the whims of the script; characters are taking greater agency in this environment, and the result is a strong thematic piece which lays some important groundwork for characters both new and old.
“The Night Lands” and Sexposition
April 8th, 2012
People who coin new terms are very rarely trying to coin new terms. When I used the term “sexposition” to describe a particular kind of scene in Game of Thrones, I wasn’t staking a claim to a corner of the cultural lexicon so much as I was trying to be clever. In fact, for a while – and still, really – I refused to believe it was possible to “invent” such a simple portmanteau – all I did was add an “s” at the end of the day. However, the word has caught on, leading to a bizarre couple of weeks in which Esquire magazine and The Guardian were contacting me on the subject, I was listening to Nikolaj Coster-Waldau and writer Bryan Cogman talking about it on the DVD commentaries, and now it even has a Wikipedia page not to be confused with “sex position.”
What I realized in chatting with these journalists, though, is that we (as a larger Game of Thrones-viewing community) had never come to a clear understanding of what sexposition even was. The first thing the Esquire journalist did was run a definition by me, and I realized that I didn’t really have any corrections because I had never actually thought much about it. While I had a number of scenes connected to the term in my mind, expanding it beyond Game of Thrones would require a more rigorous set of criteria, something that became clear when Michael Hann at the Guardian began talking about sexposition in the context of Showtime’s Homeland.
While Hann’s article captured the overall issue quite well, asking broader questions that speak to why the word is useful in considering the implications of this particular narrative device, I was confused by the evocation of Homeland, a show I would not associate with the term (which is a larger conversation that would require spoilers, so if you really want me to expand on that let me know). Also, in following fan discussion around Game of Thrones, I’ve seen sexposition become more of a catch-all term for the overuse of sex and nudity in general, something that obscures the specific implications of the neologism.
“The Night Lands” features what I’d consider the season’s first explicit use of sexposition as a narrative strategy, but it also features other sequences that feature similar amounts of nudity but which I would not associate with the term. Before delving a bit more into the rest of the episode, which features some of my favorite moments in the early parts of the second season, I want to tease out this distinction in an effort to consider what this sex is accomplishing, and what we make of the show effectively doubling down on the practice.
“The North Remembers”
April 1st, 2012
“For the night is dark and full of terrors.”
Game of Thrones is a very different show now than it was when the first season began last April. “Winter is Coming,” the series premiere, was an introduction to the world of Westeros, the characters who inhabit it, and the basic principles of honor which would be torn asunder over the course of the next ten episodes. It was a hint at the dangers that lurked beyond the wall, a glimpse of the paths being forged for those south of it, and a beginning of what would become a much larger, and on some level never-ending, journey.
By comparison, “The North Remembers” tells a very different story. Those dangers are now more real, those paths well trodden, and that journey more expansive than that first episode could have established. Where there was one king there are now four, each staking a claim on power that might well lie in the hands of those who wear no crown and yet play their games behind the scenes, and there are more Kings and Queens waiting in the wings for their opportunity to strike in the future.
However, the strategies of these two episodes are nearly identical, each tasked with providing a bird’s eye – or, rather, comet’s eye – view of the narrative map of the series as it stands at this very moment. While “Winter is Coming” was introducing characters for the first time, “The North Remembers” is fittingly enough about restoring the audience’s memory. Using similar strategies to the series premiere, the episode drops in on the various story threads we left back in June, a helpful reminder for those who haven’t revisited the first season on DVD or HBO Go.
Review: Game of Thrones Season Two
March 29th, 2012
What do people really want to know about HBO’s Game of Thrones as it enters its second season?
When the first season premiered, writing a pre-air review was an easy process. Fans wanted to know how well George R.R. Martin’s A Song of Ice and Fire had been adapted for the screen by David Benioff and D.B. Weiss, and non-fans wanted to know if the result still qualified as a television show worth their time. These questions were conveniently interlinked, in that the show’s success as an adaptation (faithful but not slavish, episodic without losing broader narrative complexity) was very much part of its appeal to non-readers.
However, I found myself somewhat stumped as I sat down to write about the first four episodes of the second season. The challenge is that we’ve already answered those broader questions, and to my mind the answer hasn’t changed – the show is still a compelling and worthy adaptation of Martin’s series, and that still results in some tremendous television. I have some specific comments about nuances in the adaptation, and some opinions about how certain stories are being depicted, but I don’t feel as though I have anything new to add to the growing chorus of people praising the show upon its return as a preface to my post-air reviews which will go up over the next four weeks (and which will delve into those nuances and opinions in more detail).
Looking to solve my writer’s block, I opened up the conversation to my followers on Twitter and the users at NeoGAF (where a lively community has been built around the show), asking them whether they had any lingering questions they had which they didn’t feel had been covered by the mass of reviews to date. While I want to address a few directly, the larger takeaway was that readers and non-readers might have more in common as the show goes forward than I had presumed, a notion I’d like to explore further.
“Summertime” and Televisual Space
January 8th, 2012
After rewatching the entire first season over the holidays with my parents, I found myself enjoying Shameless more than when it premiered (as I wrote about soon after), and I looked forward to checking out the second season. What I wasn’t expecting, though, was to find it so disarmingly different from what we saw last year.
This isn’t to say that the show has dramatically changed its approach to storytelling, although there is evidence to suggest that they are finding better ways of balancing the different character dynamics based on reviews from critics who have seen beyond tonight’s premiere. Rather, the fast-forward to the dog days of summer has created both a temporal shift and, more importantly, a spatial shift in terms of the characters and the world they live in. More generally, though, the long summer days offer a plethora of sunlight, dramatically transforming the aesthetic of the show and signaling a new season in a very direct, meaningful fashion.
I realize that this is not particularly evaluative, and if we were to speak exclusively on those terms I found the premiere promising but uneven, but I want to spend a bit of time discussing these changes relative to the question of space, an increasingly important factor as worlds begin to converge in a new spatial dynamic within the series.
“Kitsch Me If You Can”
October 12th, 2011
As we drew closer to the season premiere of Bravo’s Work of Art, I began to get very nervous.
Last summer, I wrote a number of pieces that I think accurately capture my general obsession with this show, a complex and enormously flawed exercise that revealed things about the artifice of reality programming, the perils of reality editing, and the challenge of combining reality competition structure with something as purely subjective as fine art. However, while these difficulties may make it problematic within the fine art community, as a television critic I found Work of Art to be one of the most truly satisfying reality series I had ever seen. Each episode showed us something new about the artist, and their personal narratives were constructed, deconstructed, and reconstructed numerous times over the course of the season. So whether I was writing about the show at large, or about two of its contestants (Miles Mendenhall and Jaclyn Santos), I had a lot to say.
Sadly, I will not have time to say as much this fall simply due to time constraints, but going into tonight’s premiere I wondered if I was going to have anything to say at all. For some reason I became profoundly worried as of late that the show wouldn’t be able to catch lightning in a bottle twice, especially since it didn’t seem like the show did so on purpose last time around. The tension that once sat at the center of the show could easily be diffused with a production staff now aware of the series’ flaws, and a set of contestants who fully understand what it is that the show is trying to accomplish.
While I have not seen beyond tonight’s premiere, I feel as though I can state with some authority that all has not been lost. “Kitsch Me If You Can” is an extremely strong opener, managing to introduce the artists while simultaneously focusing almost exclusively on their process rather than their personalities. Although “The Sucklord” may be larger than life, for the most part the cast seems to consist of artists with points of view who will be tested and tested again over the course of the competition.
And the results, at least in tonight’s finale, were pretty fantastic.