Originally published 04/01/2013
Michelle Dean's writing has appeared at The New Yorker's Page Turner blog, Slate, Salon, the Globe and Mail, and a variety of other publications.Game of Thrones is a pageant of a show, all velvet-curtain costumes and dye jobs that somehow never extend to the eyebrows. The accents are weird and randomly assigned, particularly the ones that are English by way of Denmark and New Jersey. And the CGI’s not all that different from the psychedelic drawings in 1970s cartoons. But somehow, every year, it rolls around just in time for people to feel like the real world’s a little much to handle, and we forgive its pieties and excesses for a few hours of entertainment.In fact, it rarely feels like the ten hours we get each season are enough, and that feeling arises in spite of the amount of violence, exploitation, rape and suffering on the thing, which makes the daily headlines of life in America look like they were written by Captain Kangaroo. This season, whose prose analogue is the third book of the trilogy, A Storm of Swords, starts dark—the rotund and lovable Samwell Tarly running from one of the blue-eyed northern zombies they call the Others, or White Walkers—and will end darker. I won’t say a lot more, except to say that the first big twist comes three episodes in and things devolve from there....
- Economist disputes Nial Ferguson's claim that the Fed is to blame for the stock market’s volatility
- Hero Marine Dad Will Unleash Hell Itself If Daughter’s World History Class Says Muslims Are Real
- Historians Against the War joins peace activists in pressing Congress to support a diplomatic solutions to conflict with Iran over nukes
- Despite new hires, Yale history department retains vacancies
- African-American Professor: Reagan Did More To Help Black Education Than Obama