From the excellent Art of the Title, an interview with Angus Wall, the creative director responsible for the opening titles of Game of Thrones.
Basically, we had an existing map of Westeros and a xeroxed hand drawn map of Essos - both done by George R. R. Martin - and I took those into Photoshop and played with their scale until they lined up perfectly. The actual dimensions, the locations and their placement, and the different terrains are all based strictly on George R. R. Martin's maps. It was really important that we stay as absolutely true to the books as possible because of the ardent fans out there.
Wall also works as an editor, often on David Fincher films. He won two Oscars for editing The Social Network and The Girl with the Dragon Tattoo.
If you've been paying attention to the promos for HBO's Game of Thrones series, there's been a lot of Jon Snow sitting on the Iron Throne. When the show started, Snow seemed like a relatively minor character, but his uncertain parentage hinted at possible greater things on the horizon. Here's a video explanation of one of the more popular theories about Snow's parents:
BTW, if you, like me, haven't read the books and have only seen the TV show, the video doesn't contain any outright spoilers, only enriching context. So watch away. And if you've read the books, you probably don't need to watch the video because you're probably already aware of this old theory. If you're interested, there are more theories (and crazy spoilers) where that came from.
This is a reel from Mackevision, showing the visual effects they did for season 4 of Game of Thrones. I wasn't expecting all the boats to be fake.
This reel does a better job than most in showing the process and how all the different elements fit together. Also interesting to see how much the digital greebles make everything seem way more realistic.
Update: And here's another reel of VFX from season 4 by Rodeo FX.
Ruling is hard. This was maybe my answer to Tolkien, whom, as much as I admire him, I do quibble with. Lord of the Rings had a very medieval philosophy: that if the king was a good man, the land would prosper. We look at real history and it's not that simple. Tolkien can say that Aragorn became king and reigned for a hundred years, and he was wise and good. But Tolkien doesn't ask the question: What was Aragorn's tax policy? Did he maintain a standing army? What did he do in times of flood and famine? And what about all these orcs? By the end of the war, Sauron is gone but all of the orcs aren't gone -- they're in the mountains. Did Aragorn pursue a policy of systematic genocide and kill them? Even the little baby orcs, in their little orc cradles?
Kristian Nairn is the actor who plays Hodor on HBO's Game of Thrones. When he's not acting, the 6'10" Belfast resident DJs and makes music. His Soundcloud page contains a bunch of his house mixes; here's the latest mix from three months ago:
[Warning: season 4 spoilers ahoy!] So, in the second episode of this season of Game of Thrones, something wonderfully unpleasant happens. If you've seen it, you know what I'm talking about and if you haven't, you should really stop reading right now. I've been thinking about why it happened and who did it. This series of images over at Imgur presents a compelling explanation.
Lady Olenna gives sympathies to Sansa for the murder of her family. Watch carefully. Yoink! Olenna rubs Sansa's neck, plays with her hair and finally snatches the right-most jewel on Ser Dontos's necklace.
Interesting, right? (I mean, maybe not if you've read the books, but I haven't so I have no idea who killed Joffrey in the books or if you ever even find out.) But there are two puzzling things about the Tyrell plot:
1. Why the hell was it so convoluted? Couldn't Lady Olenna have brought the poison to the reception herself? Why use Sansa's necklace? There's no CSI: Westeros so no one would have ever suspected Sansa's necklace being part of it. Unless the Tyrells tipped someone off about it after the fact. Also, for the love of the old gods and the new, Grandma, hasn't Sansa been through enough without being framed for that little turd's murder?
2. Why do it? Why then? Does Margaery stay Queen? She has no heir by Joffrey. Or is one of Joffrey's little brothers in now? I suspect these questions will be answered in the next episode, but unless Margaery stays Queen, the Baratheon reign ends, and the Lannisters get bupkiss, I don't see a compelling reason for the Tyrells to do this.
Bonus tidbit: this is the last we'll see of Joffrey and also the last we'll see of the actor who plays him, Jack Gleeson. Gleeson is retiring from acting, saying he "stopped enjoying it as much as I used to". I bet the guy who played Malfoy in the Potter movies is breathing easier.
To state the obvious: while the male detectives of "True Detective" are avenging women and children, and bro-bonding over "crazy pussy," every live woman they meet is paper-thin. Wives and sluts and daughters -- none with any interior life. Instead of an ensemble, "True Detective" has just two characters, the family-man adulterer Marty, who seems like a real and flawed person (and a reasonably interesting asshole, in Harrelson's strong performance), and Rust, who is a macho fantasy straight out of Carlos Castaneda. A sinewy weirdo with a tragic past, Rust delivers arias of philosophy, a mash-up of Nietzsche, Lovecraft, and the nihilist horror writer Thomas Ligotti. At first, this buddy pairing seems like a funky dialectic: when Rust rants, Marty rolls his eyes. But, six episodes in, I've come to suspect that the show is dead serious about this dude. Rust is a heretic with a heart of gold. He's our fetish object -- the cop who keeps digging when everyone ignores the truth, the action hero who rescues children in the midst of violent chaos, the outsider with painful secrets and harsh truths and nice arms. McConaughey gives an exciting performance (in Grantland, Andy Greenwald aptly called him "a rubber band wrapped tight around a razor blade"), but his rap is premium baloney. And everyone around these cops, male or female, is a dark-drama cliche, from the coked-up dealers and the sinister preachers to that curvy corpse in her antlers. "True Detective" has some tangy dialogue ("You are the Michael Jordan of being a son of a bitch") and it can whip up an ominous atmosphere, rippling with hints of psychedelia, but these strengths finally dissipate, because it's so solipsistically focussed on the phony duet.
I enjoyed the show and am seated in the McConaissance cheering section, but True Detective is far from TV's best thing evar. And Nussbaum hits the nail right on the head: the lack of good women characters is to blame.
Something I've noticed about my favorite TV shows: they are mostly testosterone fests where the women are more interesting than the men. Mad Men is the perfect example. Game of Thrones is another. And Six Feet Under. Even in Deadwood, which I am rewatching now and is loads better than True Detective, women more than hold their own against the men. It's fun to watch the men on these series generate bullshit, but it's much more interesting to watch the great actresses who play these women navigate and elevate through the predictable male privilege.
A nascent trend on YouTube is to take contemporary dramas and imagine what their 1995-style opening credits sequences might look like. The first one appears to be this Walking Dead one, followed by Breaking Bad, which is the best of the bunch:
The seasons in George RR Martin's medieval fantasy are a random, unpredictable mess. They could last anywhere from a few months to a decade and there's no way to forecast them. As the story opens, the characters are near the end of a long, ten-year summer. They also worry about the coming winter, which will cause mass starvation if it also lasts years on end. This wonky climate is an irreplaceable part of Game of Thrones. Westeros would not be remotely the same without it.
But grapevines have a life cycle that depends on regular seasons. In winter, grapevines are dormant. Come spring they sprout leaves. As summer begins, they flower and tiny little grapes appear. Throughout the summer the grapes fill up with water, sugar and acid. The grapes are finally ready for picking in early autumn, then go back to sleep in winter. This cycle is why wineries can rely on a yearly grape yield. Obviously, in Westeros, something must be different about how grapes work.
In the episode "The Kingsroad," we learn that Westeros has at least one moon. It's very possible, therefore, that they have a very small or distant moon, that is causing a variable tilt in their planet's rotational axis.
It's interesting to note that, according to legend, Westeros used to have two moons, but "one wandered too close to the sun and it cracked from the heat" pouring out a thousand thousand dragons. Well, dragons aside, it's conceivable that some kind of cataclysmic celestial event could have wiped out their second moon, which would have thrown their planet's rotational axis out of whack.