Game of Thrones – ‘You Win or You Die’

CERSEI: When you play the game of thrones, you either win or you die. There is no middle ground.

If ever you wanted to point to an early episode of Game of Thrones which would serve as a mission statement for the iconic series to come, outside of ‘Winter Is Coming’, you could do worse than point to ‘You Win or You Die’. It is, in many senses of the word, a game-changer. The episode firmly establishes the key, central ideological concept at the very heart of George R.R. Martin’s opus, and it’s one we may already have strongly suspected: we are watching a very powerful and very deadly game in progress.

Though it contains a number of extra elements, ‘You Win or You Die’ can be seen as a clearer successor to ‘The Wolf and the Lion’ than ‘A Golden Crown’ was to the developing narrative. It takes many of the political and Machiavellian ideas established in the fifth episode and builds on them, moving the season firmly toward what would constitute a climactic end game which will play out over the final three episodes, depicting in broad strokes the ending of the book A Game of Thrones and leading very clearly into the adaptation of sequel A Clash of Kings, which will form the basis of the second season. Fates are sealed in this episode with more certainty than they have been for some time, yet the majority of what happens feels inevitable. David Benioff & D.B. Weiss’ script simply brings into focus many more thematic concepts that have been gestating since the season began.

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I Kill Giants (2018)

It would be tempting to suggest I Kill Giants is a direct result of the critical and commercial success of Patrick Ness & JA Bayona’s A Monster Calls, but given this adaptation of the Joe Kelly & JM Kim Niimura’s indie-graphic novel from 2008 was filmed in September 2016, before A Monster Calls was released, this suggests the two are just a happy, coincidental accident.

I mention this because I Kill Giants owes a huge debt to Bayona’s film, both in terms of narrative structure and thematic sensibility. This is ironic because Kelly & Niimura’s source material was published a good three years before Ness published his novel, which Bayona subsequently made into a film, so in many respects perhaps the inspiration should be flipped on its head. Had I Kill Giants been filmed and released first, that may well have been the case, although somehow I doubt it. For the principal reason that Anders Walter doesn’t nearly manage to evoke the same level of heartfelt anguish, awe and pain from Kelly’s script adaptation of the graphic novel as Bayona managed from Ness’ screenplay adaptation of A Monster Calls. The two may have a great deal of DNA in common, but they are significantly apart in successful execution.

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Star Trek: The Next Generation – ‘Q-Strike’

In an attempt to try and tackle the onerous job of looking into the Star Trek book universe, thanks to the help of Memory Beta’s chronology section, I am intending to look at the saga in book form from stories which take place earliest in the franchise’s timeline onwards. This hopefully should provide an illuminating and unusual way of examining the extended Star Trek universe.

Part of this story takes place 600,000 years ago.

The conclusion of Greg Cox’s three-part exploration of the Q Continuum brings proceedings to a natural and understandable close, as Q manages to win the day over the evil entity 0 (aka Nil) and save reality as we know it. ‘Q-Strike’, thankfully, despite being the longest of the three books, also comes off as the breeziest read of the trilogy.

‘Q-Zone’ spent a significant amount of the page count establishing the central relationship between Q and Nil, which very much reflected an abusive friendship or destructive father/son dynamic; Nil presented himself as a cool, dangerous and exciting role model, but in short order proved thanks to his devastating destruction of the Tkon Empire, when they dared to challenge his omnipotence, that he was little more than a self-aggrandising bully who simply wanted to treat mortals in the universe as his play things. The Q we have seen across The Next Generation and later in Voyager has always been considered to be the ultimate omnipotent trickster, but he never overstepped the boundaries into outright genocide. What ‘Q-Strike’ does is play the line between making Q much more *human* in terms of his character and give him certain shades of grey on his moral compass.

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Marvel Malaise: Jessica Jones S2 and the Pacing Problem

Let me tell you a story about Marvel, more specifically my relationship with the Netflix corner of the Marvel Cinematic/Television Universe. Having just digested all of the second season of Jessica Jones, the latest entry in the Marvel TV stable, it’s time we had an honest chat about these shows and how there’s a problem I just cannot get past.

Pacing.

Jessica Jones had a really impressive first season, and still could well stand as the strongest run in what, at the current count, stands as eight thirteen episode seasons that have encompassed the Netflix TV corner set in and around Hell’s Kitchen in New York City, with a ninth on its way in the next few months. Melissa Rosenberg’s adaptation of the comic Alias Jessica Jones (the Alias dropped in part to prevent confusion with ABC’s spy-fi drama of the same name) made a star of the biting and droll Krysten Ritter as Jessica, a super-powered private detective with a caustic attitude and few social skills, and told a quite violent, harrowing and dramatic story all about an abusive, controlling relationship & the psychological scars of rape. It was, on the whole, pretty superb television.

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Project Crossroads: Where does The X-Files go from here?

The X-Files, one of the most recognised and beloved television properties of the last three decades, lies once again at a fascinating impasse.

‘My Struggle IV’, which I discuss here in depth, was billed as a finale, but it soon became clear Chris Carter only intended Season 11 to serve as a season rather than series finale. Despite Gillian Anderson’s claim this was her last time playing FBI agent Dana Scully, Carter has steadfastly refused to write a true ending for Scully and her erstwhile partner Fox Mulder. What many considered could well be the final time we saw these iconic characters, fates were left unresolved, storylines nebulous, and our two heroes were left staring down at a crossroads of two different paths: domesticity with the chance of a new family, or continuing their work investigating the paranormal. Their choice depends on many factors which lie beyond any decisions made by the two intrepid FBI agents in the show.

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The X-Files – ‘My Struggle IV’

WILLIAM: I know the truth can only come from my father, a man I’ve only seen in my visions, but who I already know I hate…

How do you end The X-Files? This is a question fans have been asking themselves for quarter of a century, ever since Chris Carter’s show premiered in 1993 on the FOX network and helped define popular culture across the entire decade. ‘My Struggle IV’ proves, without any shadow of a doubt, that the truth is you don’t. The X-Files is a phenomenon that will never truly come to a close.

Season 11 of The X-Files has been overshadowed, to some degree, by Gillian Anderson’s announcement last October—with several months of shooting left to go—that this was her final go around playing FBI agent Dana Scully, the role she will be immortalised for, as much as David Duchovny will never truly escape her partner, FBI maverick Fox Mulder. Anderson stayed with the original series longer than Duchovny—who jumped ship as a forefront character at the end of the seventh season—so it’s difficult to truly blame her for deciding, after twenty-five years living the part even in the long period she didn’t play her, that Anderson wanted an end for Scully. The revival series, which arrived in 2016 on the trail of a nostalgic comeback tour for various TV shows which were iconic in the days before streaming and cable changed the paradigm of television, was one millions of fans hoped would provide some sense of closure.

The end of the original series, Season 9’s ‘The Truth’, came as a disappointment to many fans at the time. Contextualising a mythology many had (falsely) claimed made no sense, and reintroducing the long-absent Mulder, made what fans hoped was a climactic thrill ride for the alien mythology more like a clip show, with an ending that reflected the ‘Pilot’ but left Mulder & Scully in nebulous waters; were they fugitives? Were they out of the FBI? Were the X-Files shut down? What about Agents Doggett & Reyes, who had taken over the department and failed conceptually to replace the dynamic duo we had followed for seven seasons together? Were the aliens still about to invade? So many questions were left unanswered, far more indeed than ‘My Struggle IV’ has left unanswered – and this latest attempt at a finale is, in all honesty, no real *finale* at all.

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Game of Thrones – ‘A Golden Crown’

VISERYS TARGARYEN: Who can rule without wealth, or fear, or love?

As we move into the second half of Game of Thrones’ debut season, two of the most central concepts of George R.R. Martin’s saga begin to assert themselves in deeper ways: children and lineage. ‘A Golden Crown’ is an episode filled with the lingering shadows of lost childhood and assumptions, or presumptions, of birthright.

David Benioff & D.B. Weiss present, of course, probably Game of Thrones’ first true watershed, “OMG they just did that!” moment with the horrendous death of Viserys Targaryen, given the titular ‘golden crown’ by Khal Drogo when he finally pushes his luck a little too far with the Dothraki, who take his demands just a touch too literally. Game of Thrones would of course top this many times over – Ned Stark’s shocking execution in ‘Baelor’ at the end of the first season would be the next, and the one the series will forever be immortalised for is the so-called ‘Red Wedding’ in the third season’s penultimate episode ‘The Rains of Castamere’ – both examples of which cement the idea of the penultimate episodes of Game of Thrones always provide the biggest shock events or battles, before a calmer, scene-setting finale. We’re some way from that yet. Right now, Game of Thrones just pulled a flanker in the sixth episode.

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