• Why We Like Game Of Thrones

    by  •  • Posterous


    ‘In contrast to the usual unpleasantly Nietzschean tropes of fantasy fiction, it’s the children, cripples, outcasts and servants who are truly heroic, while the strong, well-born and beautiful act with monstrous selfishness. Its most engaging character, a dwarf magnificently played by Peter Dinklage, is as articulate, venal and clever as Mephistopheles, but he also perceives what makes us worth taking care of: “Most of us are not so strong. What is humour compared to a woman’s love? What is duty against the feel of a newborn son in your arms? Or the memory of a brother’s smile? Wind and words. We are only human, and the gods have fashioned us for love. That is our great glory and our great tragedy.”

    If the series lacks the exquisite poetic language in which dramatists like Webster, Middleton and Marlowe revealed the thoughts and feelings of their protagonists, it carries a ferocious conviction as a portrait of politics at its most foul and corrupt. Perhaps it is this which has extended its appeal. Uneasy alliances, inherited privilege, deadly feuds and wars are all closer to us than the polite, minimalist world of Danish politics as depicted in Borgen. We no longer trust our leaders to be noble, disinterested and benign: we feel, on the whole, that as a breed they are less trustworthy, more greedy and less compassionate than ourselves.’

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