An area of particular interest to me when it comes to contemplating and debating A Song of Ice and Fire from a political perspective is the idea of legitimacy, specifically in terms of from where and whom legitimacy is conferred onto leaders/rulers given that democracy isn’t exactly a realistic prospect in this narrative universe. As the field of contenders for control of Westeros has shortened over the course of the series, questions around legitimacy have come into sharp relief this season, especially now that Dany and her army have finally descended on the continent.
As short as seven episodes may be for a season of American television, an episode this eventful and consequential arriving at the relative midpoint of a season is reminiscent of the great primetime soap operas of network television pulling out all the stops for sweeps and ending on a massive cliffhanger before a hiatus. However unlikely it is they would kill off such a crucial character as Jaime in such a fashion, the drama of the moment was undeniable, especially following as spectacular a battle sequence as it did. As strong as the first three installments were, there isn’t much doubt in my mind that “The Spoils of War” was the strongest episode of the season to this point by any metric. Continue reading
Of the myriad ruminating and analytical exercises I enjoy while engaging with Game of Thrones, one of my favorites is to consider the events of the series through the lens of modern political theory and dynamics, especially when it comes to the legitimacy of the leaders, a subject I’ve mentioned more than a few times in this space. I find the concept of legitimacy especially interesting where it concerns monarchy. While it is fairly clear what Dany’s personal motivations are for her quest for the Iron Throne, she’s never made an effective or legitimate case for her claim, and I do not believe it’s a coincidence. I think the reason she doesn’t have one is that she hasn’t developed a positive case to make for herself apart from her own personal drive and desire. Continue reading
Now, we’re cooking with gas. Or dragon fire. Or wildfire. Take your pick. Game of Thrones has long established a tendency to feature robust, standout episodes for the second slot of the season, and “Stormborn” continues that trend. This episode had no major flaws and just about every beat moved the narrative forward, in some cases monumentally so. The momentum, rhythm, and pace of the episode was consistent while still finding the time and restraint necessary to let crucial moments land.
The quality of Game of Thrones in terms of narrative and production value has been so consistently high from the very beginnings of the series that it becomes easy to lose perspective on just how much the show has grown and continually raises the bar for the key elements of the show. The scale of Game of Thrones production is enormous and unprecedented, with a considerable amount of resources at the team’s disposal. What one does with those resources from a creative standpoint, though, is what really determines the quality of programming such as this, and Game of Thrones has reached a new pinnacle in several respects with “Battle of the Bastards.” Continue reading
Game of Thrones is so stylistically and structurally consistent that every time they do something completely normal for a television show to do, like cutting away from Stannis’ decapitation last season or starting an episode with a cold open as they did in “The Broken Man,” I jump out of my seat with a combination of shock and outrage, thinking that my cable is malfunctioning or that HBO screwed up the broadcast. When the “HBO Entertainment” card faded and the cold open began, I actually rewound the DVR thinking that the cable box had somehow skipped ahead of the opening titles. The reason for the first cold open Game of Thrones has ever employed on a non-premiere was quite obvious to me by the end of the scene, as it was, I suspect, to most viewers. Continue reading
It was almost jarring to see them end a season on something other than a big “creature reveal.” That’s not a complaint-and not that there’s anything wrong with big creature reveals, because of course there isn’t. But I really like when seasons (or series, for that matter) end with a central character boarding a vessel or entering a vehicle and going somewhere. It’s a beautiful if obvious metaphor for consuming a serial narrative and also for characters during a “hiatus.” This ending reminded me of the ends of Freaks and Geeks and Six Feet Under, which left me with an unsettling feeling given that those two were series finales. I’m certainly glad I’m aware that Game of Thrones has already been renewed for at least two more seasons. Continue reading
This episode-“Blackwater” 2.0, was good bloody fun and a prime example of what makes Game of Thrones so unique as a series. Not just unique in the way that the show is special-it being of superior quality to almost everything else the medium has to offer-but unique in its very essence as a work of media-art. Game of Thrones the television series exists somewhere between cinema and television, blurring lines and creating new forms in the process. It is in episodes like this that the series makes its mark. Continue reading
Oaths were kept, masters were killed, and eyes were turned blue. This episode was unified thematically; every storyline this week featured someone who entered into some type of promise, vow, or binding agreement. The episode was in large part about the costs of keeping those oaths and the consequences of breaking them. Continue reading