The most feared family throughout Westeros during shooting season 4
Blooper reel (
Expectations Vs. Reality / Game of thrones
got s4 challenge: [day 6] favourite outfit → everything dornish
"Did you tire of your paramour on the road?"
“N e v e r. We share too much.”
#forever grateful for oberyn martell #the only character who consistently criticised and fought and raged against the all-pervasive culture of rape & sexual sadism #and who sought retribution for the rape of his sister not because it brought dishonour to his family #or sullied her femininity #but because it was a heinous violation of a human being that got buried in silence #he was determined to give voice to it; and to keep giving voice until it couldn’t be ignored any more #to be as unflinching and ruthless and relentless as the man who brutalised the person he loved #jfc the show needed this embedded voice of resistance so badly; one voice against a tide of complicity and complacency #[this character was everything this performance was everything i’m so fucking torn up about it]
Because the show is selling out. It’s become the flagship show by HBO, surpassing the popularity of The Sopranos. It’s infiltrated the mainstream. People don’t see it as a genre show anymore but a drama show, and I guess that says much about their success. I guess that means it’s not without fallbacks as well. They seem to be pandering to the image that the show is being marketed as—risqué, tackling Important and Flinch-worthy scenarios such as gratuitous rape, gratuitous nudity, gratuitous violence. It’s all becoming so carnal. I like the show, I really do, but the trade offs are lamentable. They’re in danger of falling back on recognizable tropes that simplify what the book series, as a ~deconstruction of the fantasy genre, had wanted to surpass and succeeded in doing so.
Some of the changes I’ve personally chalked up to loss in translation from one medium to another. But that excuse can only hold out for so long. I understand they needed to build a narrative that would cooperate with a tv show format, and that means making storylines intersect in a way that they don’t in the books. I understand they need poignant, image-heavy plot devices that would culminate the ~pathos and the ~angst in characters, and that probably means creating high-risk, high-impact traumas revolving around sex and violence. But in attempting to be risqué, they’ve fallen into the safety net of relying on the Sex Sells bandwagon, resulting in mindless gratuity at the the worst of times and redundant noise at best.
It doesn’t take much to make a series like Game of Thrones succeed. It benefits from high quality material—the books. Most of their work has been done for them by George RR Martin. His is a formula that draws cult fascination: downplayed fantastical elements, political intrigue, well written characters, a vast and rich world. The challenge is to know which of these things to trim down into a formula that works for television.
I guess this says much about what they think their market is and, conversely, the market they’ve created for themselves. They need to “get with the times”, for the lack of better wording. If they want to break the glass ceiling, they need to step beyond what’s already been regarded as a high quality production and start investing on progressive storytelling. If they want to stay true to the “fresh deconstructionist” spirit of A Song of Ice and Fire then they can’t just keep relying on old school tricks to adapt new school material. That’s not doing the series justice. They need to think about their approach as storytellers for TV. GRRM’s done his part. The show needs to level up.
Nuance female characters. Don’t fall into the trap of using loss of agency to justify character arcs. That brings across the message that women are triggered into action only when they lose themselves. Make them ambitious, make them want something more. They could do so much for Cersei and Asha that way, yet Ceresei remains to be one of the most confusing characters for me on the show and Asha is just… Well, not on the show. Even I’m hurt by the loss of Stoneheart and I’m not even on the Stark camp. I’m still holding out for hopes that she’d come back, but I guess we won’t be sure until season five… Or season six.
Game of Thrones is a good show, but not a perfect show. Especially for fans of the books. That the producers know how the series ends just in a case GRRM doesn’t finish the books makes me nervous as well. I understand they’re attempting to dominate a platform that has fixed traditions and ways of doing things—novels undoubtedly lend more freedom to be progressive. But being faithful to the books doesn’t necessarily mean sticking to every detail in canon. On the contrary, the show should be tested for how they adapt canon and make it their own without undermining the level of complexity and integrity of characters achieved in the books.
I guess what I’m trying to say is that the show still winning because of the books, because of the material. It’s about time they start winning as a show. Test boundaries, make fresh interpretations, and not just rely on old hat tricks like CGI to impress the audience. Not everyone’s read the books and I guess that’s what concerns me most as a better fan of the books than I am of the show: the viewer should be getting more than what they’re getting now. They’re missing so much.
What should I say? What can even be said? Should I talk about how fucking out of this world ridiculous it is to say that you don’t have time to show something like Stoneheart, when we have time for five minute ableist speeches about beetles? Should I talk about the collection of rape and sexual violence scenes which, if removed, would leave open at least an hour of the ten that are provided in a season? Should I mention that the only stories that seem worthwhile to these people are the ones that directly revolve around male characters? Sansa gets scenes - as long as Petyr is there. Arya is featured, when Sandor or Beric or Jaqen or someone is there. Cersei only matters in terms of her children, Catelyn is killed after a season of literally no air time, Dany repeats the same boring dialogue every single episode, Brienne shoves a sword at someone before quickly being ushered off screen. I’m tired. I’m so, so tired.
Overall - I’m not livid. I’m just fucking exhausted. I’m done with the show that I love so much being put in the hands of misogynistic white dudes who have literally no interest in creating a show for the asoiaf audience. I’m not even sure if they are making the show for any audience anymore, considering that they don’t even want to bring back a character who is a typical “good guy” (she’s a Stark, which serves as a protagonist for a casual audience). We can show Greywind’s head being sewed to Robb’s body, but god forbid we see a second of his mother’s revenge. How boring. How dull. It was just the epilogue of GRRM’s best book, the scene that he decided to end ASOS on. Who gives a shit. Let’s get more tits and male speeches about philosophy. Booyah.
Daenerys Targaryen is no maid, however. She is the widow of a Dothraki khal, a mother of dragons and a sacker of cities.
game of thrones s4 one week challenge : day 1 - favourite minor character : Ellaria Sand
Pedro Pascal and his uncontrollable berry lust, as seen in “Breaker of Chains” (S04E03).
I’m a stupid little girl with stupid dreams who never learns.