Game of Thrones

Game of Thrones title

It’s one of the most popular television shows in the world (it’s certainly the most-pirated) and one of the most expensive. Each episode sends shockwaves all over the internet, and those who haven’t seen the latest episode yet try to find refuge from spoilers that are suddenly everywhere. Going on any pop-culture website when you aren’t caught up is just asking for trouble, really. The latest season has been the most action-packed season yet, and there’s still three episodes left, including the climactic ninth episode that is often the most jaw-dropping of the season (previous ninth episodes have included a nasty wedding, an epic big-budget battle and a surprising execution. What could possibly happen this year?).

But why exactly has this become such a big hit? What is it that makes Game of Thrones so popular, so appealing to such a wide audience? Even those who normally turn their noses up at anything that has a whiff of fantasy about it and respond to any mention of Lord of the Rings with a dismissive eye-roll have been hooked by this show. If you haven’t seen the show yet and have somehow managed to avoid hearing or reading about any big events that have happened in it, congratulations. Let’s have a spoiler-free look at what made Game of Thrones such a huge phenomenon.

For starters, it’s from HBO, which is as close to a sure-fire seal of quality as you can get for a TV show. It also helps that the fantasy elements of Game of Thrones tend to be fairly minor at first. They become more prominent over time, but the focus of the show is mainly on political intrigue, family rivalries and children being forced to cope with increasingly-dire circumstances, so viewers who aren’t fans of fantasy get pulled in by all the character drama. There are devious back-stabbers, scheming manipulators, a lazy king, a spoiled, malicious prince, primitive barbarians, a reluctant child-bride, incestuous twins, and an honest man trying to do what’s right. This man is called Ned Stark (Sean Bean) and he is the closest thing this show has to a relatable protagonist.

There are a staggeringly-large number of characters, each with their own history, motivations and complicated relationships, and it takes a while to get to know these characters, understand who’s related to who, what they’re doing, why, and why that’s important. Some are mysterious, some are intriguingly complex, some are easy to sympathise with, others are immensely hate-able, some are heroic, some are bastards (in both meanings of the word). The show flings lots of character names, locations, and bits of exposition at you and expects you to keep up, it demands your full attention at all times and it’s easy to get confused at first. Thankfully, there’s Ned, our hero, our anchor, to stop us feeling completely lost at sea during this difficult period. We may not remember what his third son’s called, or what a Khaleesi is, but we know Ned and we know what he’s doing, so we can get by for now.

Introducing all these people and explaining the history of Westeros takes time, so the show is a bit of a slow-burn initially, but things pick up pace considerably by episode five, and there’s plenty to get the audience hooked.

The show has millions of dollars to spend, which means it can have huge sets, battles and special effects that would make feature film directors jealous, with a great soundtrack to match.

Despite the vast number of actors, there is rarely a bad performance amongst them, with Sean Bean, Peter Dinklage and Maisie Williams being some of the highlights, so it’s not difficult to care about these characters and their struggles.

The show’s storytelling is epic in the true sense of the word. The intricacy and the scope of the plot is really impressive, as the writers juggle dozens of plot-lines and character arcs from all over the Seven Kingdoms and beyond, with many of them developing and colliding in surprising ways. The show, and the book series that it’s based on, delights in taking typical fantasy tropes and twisting them into something completely unexpected.

As I said earlier, the day after a Game of Thrones episode airs, the internet is flooded with reactions, theories, and occasional bursts of incoherent outrage and shock, and it’s easy to see why. Game of Thrones is packed with shocking twists, cliffhangers, brutally-sudden deaths and awesome spectacle, making it one of those shows that people feel compelled to tell all their friends about, like Breaking Bad or LOST. Like those shows, each episode is feverishly anticipated and there’s a sense that anything could happen next.

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Hannibal season two premièred on Sky Living this week, so let’s have a look at this disturbing, atmospheric drama’s first season.

The most striking thing about Hannibal is how it looks. It’s easily one of the most stylish dramas on television. The crime scenes and creepy bits are appropriately dark and dreary, but there are splashes of vibrant colour – the green grass, the blue sky, the blood-red, um, blood – that make even the nastiest murders look oddly beautiful. This jarring contrast is part of what makes the show so unnerving to watch. It also helps that Hannibal has some of the most disgustingly-creative crime scenes ever shown on TV.

The very first episode has a woman impaled on deer horns in a field (an idea that True Detective seems to have nicked for its own case), the second has corpses covered in mushrooms, and later episodes have a couple with their backs flayed open to look like skin wings, and there’s also a totem pole – a fucking totem pole – of corpses. And it’s all framed and filmed in such a way that it looks… nice? Like a painting, or a twisted piece of modern art. It’s horrific, but you can’t look away. I genuinely can’t believe they got away with showing some of this stuff on a non-HBO TV channel. Maybe the television executives were distracted by how pretty it looks.

So, for a show about a psychopathic serial killer, it’s very colourful. Even ordinary, everyday places that normally look mundane and uninteresting are bright and stark and eye-catching. Even some of Hannibal’s meals look appetising, until you remember what they are. Often, the show doesn’t quite look real, it looks like surreal art, or a dream.

Sometimes it is a dream. The visions and nightmares of honorary FBI agent Will Graham, an expert in the methodology of serial killers, occasionally interrupt an otherwise-ordinary scene- a cheap jump-scare, but an effective one.

Will’s special skill is getting into the mind of a killer. He walks onto a crime scene, has a look around, then imagines himself committing the crime, as a way of getting into the actual killer’s head. Knowing how and why killers kill people is a valuable skill for the FBI, but as we see, it doesn’t half mess up your mind. Poor Will is sent to crime scene after crime scene to work his magic and solve the case, but he can’t sleep at night and images of what he’s seen and imagined haunt him.

Luckily, help is at hand. His boss (Laurence Fishburne) has paired him up with a psychiatrist to help him deal with the stress and the horror of his new job. The psychiatrist is a quiet man, smartly-dressed, with a calm, soothing voice, and an accent that no one can really place. He looks a bit like Le Chiffre. His name is Hannibal Lecter.

Mads Mikkelsen is a very good Hannibal. His performance is not loud or crazy- quite the opposite, in fact. He lies and manipulates and pretends to care about his client, hiding his true madness under a blank, stern face that is damn-near unreadable. Most of the time, he’s in the background, quietly observing, studying, while Will does his stuff, or talks to him during one of their many therapy sessions. The slightest change in his facial expression can reveal so much about his true feelings. It’s difficult to imagine him doing that famous noise Hopkins’ Hannibal does in Silence of the Lambs.

He seems completely ordinary, and it seems completely plausible that none of his colleagues would have any idea that he’s such a psychopath. If his name didn’t rhyme with ‘cannibal’, if it was, say, Dave, you’d never suspect a thing. Though he does let a few ‘I’d love to have your parents for dinner’ jokes slip in now and again.

Hugh Darcy’s Will is also excellent. Jittery, anguished, but determined to do his job, he is the real star of the show. His therapy sessions with Dr Lecter are always a highlight of the episode, and watching him fall victim to Hannibal’s manipulation over the course of the season is heartbreaking, as he slowly becomes a broken man.

Will and Hannibal’s interactions are the real meat of the show, they’re the main course. The horrible-homicide-of-the-week cases are just side-dishes. The killer is almost always obvious and the case is wrapped up fairly quickly, leaving plenty of time for Hannibal and Will to discuss the aftermath and for us to see how much these cases are affecting Will’s already-fragile mental state.

The rest of the cast is good, too, with some great guest stars popping in during the first season (Hey, that’s Gillian Anderson! Hey, that’s… Eddie Izzard? What’s Eddie Izzard doing in this?).

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