That’s the thing about
Thrones’ first season that feels so radically different, even more so than the lack of the fantastical roots that would catapult the show to titanic scale as it progressed. Everything feels so
small, and intentionally so Winterfell feels like an entirely different world to King’s Landing, not physically distant but spiritually and culturally, making the contrast between the events in Westeros and the events across the sea with Daenerys all the more stark (pun unintended, but, I’ll take it). The problems people face mothball into larger events, but they’re all intimately messy and personal, a small secret here and there, an act of brutality that is short, sharp, and in the moment. It’s a season that only rarely ever lingers on these moments of tension or violence, instead choosing to ruminate on the moments that come after. There’s less, for want of a better phrase, torture porn, whether it’s literal acts of brutality or putting characters th
Game of Thrones at 10: Why the HBO show based on George RR Martin s books has been a global draw
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Game of Thrones is 10 years old and already feels irrelevant
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Elaine Chung
What showrunners David Benioff and D.B. Weiss failed to understand especially in its later seasons is that
Game of Thrones is a series more about the characters than it is anything else. There are dragons! There are mysterious magics! There is sex and blood and dirty people with big swords! But what truly sets this series apart from anything else, are the complex and surprising people who inhabit this fantasy world.
Game of Thrones would never have become a television-changing sensation if it weren t for the early death of Ned Stark or the transformation of Jaime Lannister or the unforgettable evil of Joffrey Baratheon. These characters defy categorization, upending our expectations of heroes and villains. Their paths through Westeros are shocking and painful and poetic.