Search results

Sylvie Magerstädt

outclassing those high-grossing movies in almost every department, save popularity’. On a similar note, Ross Jones (2013) in The Telegraph claimed that the season finale of ‘Spartacus is . . . more action-packed – and more entertaining .  .  . than the hugely popular fantasy series Game of Thrones’. Some of these differences in opinion are no doubt due to the significant developments and change in tone that the series undergoes particularly during the three main seasons that deal with the rise and ultimate fall of Spartacus. I will therefore focus on these three seasons

in TV antiquity
Abstract only
‘You know nothing, Jon Snow’
Asim Qureshi

he would ask them the same, and because he is Jon Snow I concede and say that I condemn any form of arbitrary execution and violence. I am at pains not to say it in the language he demands – because I don’t want my life and work reduced to the notions of propriety that this White man demands. My life, my work, my ethics are caged through his fears of me, the Other. You know nothing, Jon Snow.3 2 QURESHI PRINT.indd 2 24/09/2020 10:17 INTRODUCTION The famous line from Game of Thrones comes to me after the interview is over. He doesn’t know why this questioning is

in I Refuse to Condemn
Abstract only
Councillors, hope for the future?
Colin Copus

flickering street light. They may be castigated in the local press, abused at public meetings or even in the streets, subject to personal scrutiny of their private lives, treated with often barely concealed contempt by ministers, have little or no time for family, friends and relaxation or even simply watching a bit of TV – although it is amazing how many councillors interviewed were fans of Game of Thrones. They may be expected to keep up with new ways of working or new advances in social media which offer another intrusion into other facets of their life, but they put up

in In defence of councillors
Abstract only
Anglo-American realities and relations
Dana Cooper

while surpassing other successes like Homeland , Mad Men , and Game of Thrones . 4 Watched in over two hundred countries and regions – from Sweden to South Korea, Brazil to the Middle East – the show quickly became an astonishing cultural achievement in its five years on television. 5 As the drama came to an end in 2015, some 10.9 million Britons watched the opening episode of the final season, marking an all-time high. 6 Still, as the series tended to enjoy a broader following in ‘the colonies,’ this British viewership was dwarfed by the estimated 26 million

in Culture matters
Martin Barker, Clarissa Smith, and Feona Attwood

There are of course a number of ways in which characters in Game of Thrones are unusual, but several particularly stand out. First, their sheer number and variety: this is a story-world offering a rich array of possibilities, but also one that regularly shifts narrative focus, chapter by chapter, episode by episode. Second, they are characters in a fantasy setting, whatever bits of recognisable European history might inform it; this is clearly ‘another world’, with added elements of non-natural forces. This makes it hard for characters to be

in Watching Game of Thrones
Jack Holland

of Thrones and House of Cards , noting that he wished he could whip votes in Congress in the manner of Frank Underwood. In conversation with the Netflix CEO Reed Hastings, Obama joked, ‘I wish things were that ruthlessly efficient … This guy’s getting a lot of stuff done.’ 32 As president, and even before occupying the Oval Office, Obama was often linked with a range of television shows, as a star, critic, inspiration, and fan. In all of these roles, he showed an explicit awareness of the power of this particular popular culture medium. In 2015, he featured as

in Fictional television and American Politics
Northern Ireland since the Good Friday Agreement

Ireland every year. 1 Drawn by traditional sights such as the Giant’s Causeway and attractions of more recent vintage such as the Titanic Visitors’ Centre and the locations that feature in the hugely popular television series Game of Thrones , the volume of tourists coming to Northern Ireland now surpasses the number of people living there. 2 It is entirely possible that on the afternoon of 11 January 2020, some of those visiting the region might have returned to their hotel rooms after a hearty lunch to pass a little time

in Northern Ireland a generation after Good Friday
Faustian bargains and gothic filigree
Sorcha Ní Fhlainn

throne in the HBO series Game of Thrones (2011–) matches elements of Lucifer's piercing throne with its dazzling array of blades; however, the iron throne itself does not pierce the flesh of its occupant (and according to author George R.R Martin, the throne in his novels is much grander than that depicted in the popular television series). The art of the

in Clive Barker
Thomas A. Prendergast and Stephanie Trigg

, dramatic and most influential examples of a phenomenon we call ‘portal medievalism’: fictions that foreground the mode of entry into (or out of) medieval space and time. Where medievalist fantasies such as The Lord of the Rings or Game of Thrones present worlds whose medievalist mise-en-scène is utterly self-contained, portal medievalism is structured more literally around the transition from one

in Affective medievalism
Abstract only
Appropriation, dislocation, and crossmapping
Elisabeth Bronfen

disseminating and reassembling the Bard’s work. My concern is neither with television adaptations of a play or a set of plays, such as BBC’s The Hollow Crown , nor with TV dramas that explicitly advertise their intertextual relation to Shakespeare. For this reason, the influence of his history plays on Game of Thrones will also not be discussed. Nor will I look at TV dramas that are loosely based on the dramatic problem posed by a Shakespeare play. An example would be Kurt Sutter’s Sons of Anarchy , which transplants the rotten state of Denmark to an outlaw motorcycle

in Serial Shakespeare