Author Topic: Ice & Fire (Game of Thrones)  (Read 43592 times)

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Offline nacho

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Re: Ice & Fire (Game of Thrones)
« Reply #150 on: April 14, 2014, 12:47:39 PM »
I love how Tor, io9, and everyone else in the geekoverse all reviewed episode two by basically just talking about the last few minutes in a sort of excited, giggling babble.

So with the Purple Wedding done right up front, that means this season will be consumed with the build-up towards the battle at the Wall (which is the Neil Marshall finale).

Offline nacho

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Re: Ice & Fire (Game of Thrones)
« Reply #151 on: April 21, 2014, 10:20:57 AM »
After two amazing episodes, we get a little bit of a misstep. Characters we've been asked to relate to and sympathize with for a season plus two episodes are suddenly demonized with no sense of the existing storyline or character arc. Very strange.

Overall, this was the GoT version of a "comedy" episode, coming down off of the Purple Wedding. Of course, a comedy episode involves the brutal and graphic rape of a sibling, three penises, weirdly absent dragons where they shouldn't be absent, and a general malaise where just about everyone realizes that they aren't free to do anything, including Dany whose sole strategy is to rely on others to revolt and win her wars for her.

Offline nacho

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Re: Ice & Fire (Game of Thrones)
« Reply #152 on: April 22, 2014, 01:58:13 PM »
Man... I'm starting to wonder if the unnecessarily gratuitous, completely out of character, inexplicably written and paced brutal rape scene just sunk this show.

I mean...if we stand back and look at it analytically, the only explanation for the scene is that it was intentionally designed to sink the show.

Offline monkey!

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Re: Ice & Fire (Game of Thrones)
« Reply #153 on: May 02, 2014, 05:41:50 PM »
Finally caught up with Game of Thrones, 4 episodes in one evening. Good stuff! Not as many tits though.
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Offline monkey!

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Re: Ice & Fire (Game of Thrones)
« Reply #154 on: May 02, 2014, 05:56:00 PM »
Finally caught up with Game of Thrones, 4 episodes in one evening. Good stuff! Not as many tits though.

Also, the rape scene wasn't all that bad. From the faggot-public reaction I was expecting something from Irreversible.
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Offline nacho

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Re: Ice & Fire (Game of Thrones)
« Reply #155 on: May 03, 2014, 01:31:46 AM »
Is that the one where Belluci gets brutally sodomized and then the guy smashes her face? Worst scene ever filmed!

My issue with the rape scene is that it basically goes against all of the character building for Jaime up till that point. It was kind of like "We need a rape scene!"

Offline monkey!

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Re: Ice & Fire (Game of Thrones)
« Reply #156 on: May 03, 2014, 05:36:25 AM »
Yeah, the rape scene in Irreversible is about ten minutes long.

I hold your issues regarding Jamie's character building. Then again, that long dress she was wearing to cover all parts of her flesh meant she deserved it, I think. What are the rules in Texas, again?
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Offline nacho

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Re: Ice & Fire (Game of Thrones)
« Reply #157 on: May 03, 2014, 09:54:28 AM »
Exactly the same as Westeros.

Offline monkey!

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Re: Ice & Fire (Game of Thrones)
« Reply #158 on: May 03, 2014, 10:21:15 AM »
Exactly the same as Westeros.

Lol-a-licious.
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Offline nacho

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Re: Ice & Fire (Game of Thrones)
« Reply #159 on: May 12, 2014, 11:12:05 AM »
Okay. We'll just go ahead and give Dinklage a second Emmy, I think.

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Re: Ice & Fire (Game of Thrones)
« Reply #160 on: May 12, 2014, 05:46:49 PM »
Those bastards: just as he demands the trial by combat, I thought, "Please don't be credits..." but credits.
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Re: Ice & Fire (Game of Thrones)
« Reply #161 on: May 12, 2014, 06:05:07 PM »
Something had been bugging me about Tyrion's sell-sword, Bronn... now I remember.

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Re: Ice & Fire (Game of Thrones)
« Reply #162 on: May 19, 2014, 10:54:51 AM »
This fucking show...

We're in the finale run starting next week...three episodes to go. The Neil Marshall episode is the penultimate episode, which means it will probably be the most apocalyptic episode ever. They did this last season with the Red Wedding as the penultimate episode, and then we got a Dany-heavy epilogue episode where everyone spent an hour catching their breath.

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Re: Ice & Fire (Game of Thrones)
« Reply #163 on: May 19, 2014, 04:34:55 PM »
My anus eagerly awaits.
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Offline RottingCorpse

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Re: Ice & Fire (Game of Thrones)
« Reply #164 on: May 30, 2014, 01:46:30 PM »
http://www.slate.com/articles/arts/culturebox/2014/05/game_of_thrones_season_4_a_great_show_gets_greater.html

Quote
Game of Thrones Isn’t Just Great Fun
It’s great, period. And it should change how we think about television.

Our current “golden age” of television drama has largely been marked by an obsession with realness. Everything is holding a mirror to something, and that something is us, as we were and as we are. Period shows like Deadwood and Mad Men are obsessive marvels of historical detail, while The Sopranos and Breaking Bad offer studies of American families so nuanced we feel like we’re at the dinner table. Even bygone genre chestnuts like Battlestar Galactica are reimagined into cutting-edge geopolitical allegories. The Wire—in my opinion, the best show in history—is the pinnacle of this, a work so rigorously journalistic it’s taught in sociology classes in esteemed universities.

Game of Thrones, HBO’s fantasy series based on author George R.R. Martin’s still-unfinished A Song of Ice and Fire saga, is not like those shows. It is about swords and sigils and dragons and frozen baby-crazed zombies and it is decidedly uninterested in transcending these trappings or ironically critiquing them. As such it represents a strange convergence of hierarchies, a work from a genre (fantasy) not traditionally associated with prestige in a form (television) newly associated with prestige on a network (HBO) most iconically associated with that transition. Game of Thrones is a terrifically fun and immensely popular show, but can a work so flagrantly inauthentic actually be important television?

The answer is yes, and precisely for its unreality, its joyful hostility toward anything like allegory, commentary, or social relevance. Much like Star Wars and Hogwarts and other great Neverlands, Game of Thrones doesn’t hold a mirror to anything. It is aggressively false, a work of far-fetched imagination so intricate and finely realized it becomes compelling on its own terms, disorienting and dazzling us in the ways that only the best storytelling can. This is a show where we cheer on an adolescent girl’s precocious transformation into a serial murderer; this is a show in which a character’s desire to release people from slavery is convincingly rendered as a conundrum. The most recent episode ended with yet another shocking death, a character we’re coming to hate killing a character we’d come to pity, to save the life of a character we’ve come to love. How are we even supposed to feel? Other than, yet again, totally thrilled.

Often when we refer to art as “escapist” we mean it in a passive sense, some numbing and palliative diversion. Game of Thrones is escapism that actively transports, with virtuosic and unrivaled intensity. Last season’s Red Wedding sequence is one of the most notorious moments in television history, but for all the anguish wrought by its content it is a micro-masterpiece of cinematic storytelling. The gathering claustrophobia of the doors being shut, the strange dread evoked by the invented connotations of an invented song, and of course, the cold and crushing zoom of its final shot, a Russian nesting doll of throat-slitting.

The world of Game of Thrones is an immense one, and in terms of sheer narrative scope the show’s only rival is The Wire itself. But while The Wire built vertically, with each season focusing on a new cross-section of Baltimore, Game of Thrones expands horizontally, characters and locations drifting in and out and entire strands of plots left alone multiple episodes at a time. For a show with such a reputedly sadistic relationship with its viewers’ emotions, Game of Thrones has an extraordinary reverence for our attention span: One of the reasons the show’s traumas are so effective is because they’re so patiently crafted.

And the sadism is overstated, or at least misunderstood. Late in its first season, Game of Thrones took the galling step of violently dispensing with its protagonist, a character we’d been led to believe was the show’s focal point. For all the carnage that’s ensued since, the execution of Ned Stark is the show’s most formative moment, the moment it truly spread its wings and bonded its viewers into a strange Stockholm Syndrome with the show’s universe that’s perversely pleasurable. After all, when nothing is safe, anything is possible. That sense of possibility—so expansive, so outlandish—gives the show its soul, far more than any of its fleshy titillations (overrated, as such things usually are).

It’s tempting to chalk much of this up to the source material, but Game of Thrones has actually gotten better as television the further it strays from the structure of Martin’s books. This is partly attributable to a fantastic ensemble cast with a knack for giving three dimensions to characters that might otherwise have one or two, but also to some of the best screenwriting and direction happening anywhere. “Blackwater,” the climactic episode of the second season and the best hour of the show to date, was penned by Martin himself and might be the most ambitious depiction of war ever on television, a condensed epic of dark, harrowing chaos. In fact, one of Game of Thrones’ most groundbreaking aspects is its feat of adaptation, negotiating thousands of pages of text into episodic film. Grantland’s Andy Greenwald wrote last year, “What we thought was an exercise in transforming a book into television may actually have helped turn television into a book.”

Authenticity is overrated, and has its limits. I’ve heard Mad Men’s clumsy racial politics explained away as “just how it really was” a few too many times by white people who were born in the 1980s, and the lavishly outfitted historical fiction of Boardwalk Empire has now spanned half of the 1920s and is so boring it feels like it’s happening in real time. Tony Soprano and Walter White have more in common with Tywin Lannister than they do with anyone’s actual father or husband or boss, and that’s why we love them, even when we should probably hate them.

We don’t watch TV to look in a mirror, we watch it to look at something else, something prettier or crazier or just completely different. Game of Thrones creates a suspension of disbelief so immersive it feels almost childlike, some great cultural bedtime story for people who thought they were too old for such things. If The Wire is important for what it tells us about urban America and social institutions and the moral failures of late capitalism, Game of Thrones is important for what it doesn’t tell us about any of these things. Instead it tells us is that for an hour each week we can be something like kids again, and for all those letters indicating all those “adult” situations that precede it every Sunday, that’s no small achievement.