“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.
“Cripples, Bastards, and Broken Things”
May 8th, 2011
The timing of the next few episodes of Game of Thrones couldn’t be worse on a personal level – it’s a busy time of year for me, what with the end of the semester, and it’s coming just as the series is entering some more distinctly complex episodes. While I had hoped to get these reviews done in advance, the truth is that things just became busy too quickly, meaning that I won’t have time to dive as far into “Cripples, Bastards, and Broken Things” as I might like.
However, because of this, I do want to focus in on one part of the episode in particular, comparing and contrasting it with the episode surrounding it. Jon Snow’s time at the Wall is maybe my favorite central location of those introduced early in the series, and it is in large part due to the work done in this episode. Part of this has to do with my affection for the new arrival introduced here, but it also has to do with some key decisions which give the storyline a sense of camaraderie and humor which is more or less absent from the rest of the storyline.
It’s also a part of the story which disappears for two weeks, which means focusing my analysis on it makes even more sense given that I’ll have plenty of time to discuss Ned’s investigation into Jon Arryn’s death, the viciousness of the tournament, and the slippery nature of the metaphorical dragon in the weeks ahead.
“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.