Tag Archives: Game of Thrones

Valar Morghulis and What Makes Good Storytelling

Warning: Massive Game of Thrones spoilers here. Don’t read unless you’re all caught up!  So my first premise here is that I haven’t read the books. I’ve got to get that out of the way. I’m a novelist myself. I’m a big reader, but fantasy isn’t really my genre, and I don’t have a lot of time to tackle Martin’s Westeros tomes. But I’m also a huge television fan, and from everything I’ve heard, I’m very happy to be on the show-train as my first experience. Sometimes film does it better, sometimes just differently.

(Edit: I also want to clarify that many folks who have responded to my opinion present the argument that the big problem here that I worry over is all good because it’s “the way it was in the books!” And so I’m referring to D&D and Martin as “Martin and Co.” because, though it’s “canon”, the story can still go down a problematic route, no matter whether it’s a show decision or a book decision. I’m not taking issue with the show. I’m taking issue with the story)

Anyway though, I love the narrative. I love the way it’s honed very directly. It’s good tight storytelling. But that’s what I want to talk about today: storytelling. Screen Shot 2015-06-24 at 12.34.41 PM A week ago, I watched Jon Snow die before the credits rolled on the season five finale of Game of Thrones. GoT is a show fraught with controversy and the occasional misstep, but I love it. I think it’s rich and meaningful and smart. But the death of Jon Snow gave me some serious pause. If I were to look deeper, I’d probably realize I went through all the grief stages in about a week or something.

My first reaction was denial. Nope, I thought, he’s coming back. Right? He has to. He can’t be dead. I mean, nope. Just no. Then I read an interview with Kit Harrington that filled me with dread. Both Kit and the creators insist Snow is dead. Dead is dead.

In the week that has followed, a million posts have come to light calling for the resurrection of Jon Snow and the various clues that point toward it. From Lady Melissandre to the White Walkers to.. well, this whole article, really. But I want to approach this from a different angle.

Freaking out on Twitter, I announced that this was the first Game of Thrones death that (if it stands and there is no resurrection) makes me wonder if Thrones has finally lost the plot in favor of meaningless shocks. All the deaths before this, even the most shocking ones, were trimming the fat and honing the story. When you hone the story, you’re focusing in on the heart of the work: what’s moving toward the big end-game. It wasn’t Ned. It wasn’t Robb. It wasn’t Robert or Joffrey or Tywin. When I posted this, I was met with agreement, but also some jaded Thrones viewers who were now used to losing anyone and everyone on the show (“All GoT is about is Martin just killing off our favorites”), and some jaded Thrones readers who’d been chewing on this information for a year now (“…maybe Jon wasn’t as important as we thought”).

They defended it that, you know, one of the big Themes of GoT has been that people die. It’s a sort of a reality-based, dark world, where the hero doesn’t ride in on a white horse and save the day. There are few heroes, and many, many deaths. Just like real life, people don’t always reach their dreams, they don’t always fulfill the expectations people have for their lives. They make mistakes, and mistakes big enough to lead to coups.

Lucky-Number-Slevin-clip

For the Watch!

And that’s a valid point. The deconstructionist in me wants to love it. The fantasy genre is filled with hero-stories about saving the day. It’s a defining characteristic of the genre, even. While there’s always exceptions to the rule, how cool that Martin and co. are subverting this tradition in such a shocking, public, and moving way? Build someone up, strip them down, remind them that life is a bitch.

Good theme. A cool way of illustrating it.. but… it still doesn’t sit right with me.

And that’s when I started to look at the value of art and storytelling. Here, we have this story, the Song of Ice and Fire. Fan theories have abounded, but in the same way as a writer, I feel around in the dark until I feel that one plot point that makes me say “holy shit, that’s it. That feels right. That looks right. That fits right. That’s what’s supposed to happen!” The R+L=J theory had that effect on me. It fit the story too perfectly. It gave weight and a central nature to the story. As half Stark (Winter) and half Targaryen (Fire), Jon Snow was literally the embodiment of the Song of Ice and Fire. The series is about winter meeting dragons, coming together in an epic clash amidst which people are both desperately trying to survive or take the Throne (or take their revenge, I suppose). So we’ve got these light and dark themes constantly shifting, constantly graying, amidst a very polarized backdrop. Maybe I’m biased because I love watching the themes of a story interplay and shift, but this theme, so intricately connected to the plot (I mean, it’s in the name), this is the story of Ice and Fire. It’s not the story of real world shocks. And Jon Snow, as the literal embodiment of this theme, I’d decided, was the main character. It’s a song about him as much as it’s a song about Whites and Dragons. It’s an intermixing of those themes in the characters and their decisions, which is crucial to this story because it’s so character driven at its heart.

And so we have two directions stemming from the end of season/book five. Jon Snow is dead, or Jon Snow will come back. If he’s dead… great? I guess that’s the priority theme. Pulling the rug out from under people. Screen Shot 2015-06-24 at 12.35.05 PM But there’s something about storytelling that I balk at here. And that’s that I live in the real world. I know people die when it’s least expected/preferred. I know nobody really grows up to be the hero. I know that real life is flat and bland and only as romantic as we restructure our perspective on it. And yeah, there’s Literature that’s all about these themes. It’s all about taking whatever your angle is (depressing or otherwise) on the Real World and putting that into a painful artistic fiction. And I know that that’s sort of the defining characteristic of the Literature genre so upheld by academics over “genre” fiction. But that’s not really what I think Thrones is about. This show has always been about the conclusion. Whether happy or sad or triumphant or a letdown, it’s telling one complete story that has a beginning, middle, and (hopefully epic) end.

The Real World doesn’t have an End — capital E — Where we all look around at eachother and nod with satisfaction and go sit in a room for the rest of eternity because We’ve Done It. We’ve ended. That’s death, and as we’ve already established, death in the real world is random and painful and rarely tied up with a bow.

And so I worry that if the Real World is Martin and co.’s theme here, the ending that’s been such a direction for this entire series won’t really be an ending. In fact, if the Real World really is a theme, well, let’s Simpsons and Soap Opera this shit up, let’s let Thrones run for thirty seasons, because life will always go on past each end.

But I take a step back. I have to question myself. I’ve trusted Martin and co. this far, why not trust them some more? Frankly: I do. I’m gonna still hit season six with excitement and curiosity, but a wariness now.

Another step back: it’s Martin’s story. He’s not under any obligation to write it how I want — how I think it should go. The same way he’s not my bitch, I’m also not entitled to a Great Story That I Like. I’m only entitled to the story that he is writing.

But, as a reader, I am entitled to an opinion about whether or not it’s any good. That’s where the buck stops with writers, is that readers get the final say. As a writer myself, I’ve accepted that. I might think my first novel is the best thing I’ll ever write, and it may never get more than the 15 amazon reviews it’s got. I accept that. That’s what sharing your art is. So, I’ve got to say, if Jon Snow is dead (like, dead dead), I’m not sure that was the best move. Maybe it works out. Maybe it’s brilliant and satisfying…

Just a totally misleading photo so you can share this  post without being burned alive for spoilers.

Just a totally misleading photo so you can share this post without being murdered for spoilers.

But, in the wake of all the resurrection brainstorms from people, we’ve got two options really: resurrection by White Walkers, or resurrection by Lady Melissandre. Which is to say, resurrection by fire or ice. And holy shit, how brilliant! Suddenly I’ve come around to this death plot point because THEMES! Kill the boy, let the man be born! Jon is already Ice and Fire, but holy shit, if he’s resurrected by one of the two (or both?), he’s even further the LITERAL manifestation of these themes. How does that carry out? Is he some leader of the Whites? Is he corrupted by them or the Lord of Light? (shoot, even corruption is better than death. Though I’d miss good-hearted Jon Snow, this is a show about grays between good and evil, and it’s Jon’s story… just let him have a story). All of these questions, as they directly pertain to fire and/or ice are a seriously richly thematic sandbox to work with. And it’s a sandbox that is furthering the plot in a possibly BIG way toward the final showdown between the ice and fire that we’re all so excited about in season 7! (or eight I guess, but please no more than that, HBO!) And having a character embody those themes rather than just having characters caught up in those themes… well that’s good writing.

But the alternative? The real world sucks. Just go and enjoy Dani and Tyrion while you’ve got a chance. Maybe Arya and Bran will do something cool. Maybe they won’t. The world’s a crummy place, after all.

That’s our big overarching narrative theme? That’s depressing (and this coming from a guy who LOVES depressing — seriously, The Road, amazing piece of literature).

But I want a good meaty story. Unhappy ending? Sure. Kill Dany and Jon and Tyrion as they reach the throne. Put a White Walker on it. Or zombie Joffrey. I don’t care. Just get our people where they need to go, or better yet, crop your story to the right people’s stories. Tell those stories. Don’t blue ball us at the expense of great theme. Play with those themes in big, character-driven ways, as you have to this point. Bring it together and then end it how you like. But… I mean, actually bring it together.

Jon killed at the end of season five as the Walkers descend, by his own grouchy Night’s Watch, and poof. That’s that? Our Theme Personified made a misstep and now he’s done? Somebody else takes up the mantle of White Walker Herald and things just go on? Just, no…

We need our big crazy titular themes. We need our heroic face of Winter.

Our Winter needs Snow.

Karl Pfeiffer is a novelist, photographer, and ghost hunter. He’s the author of the novel Hallowtide, the short story collection Into a Sky Below, Forever, and the forthcoming Amarricages. He won the first season of Ghost Hunters Academy, went on to work with the GHI team, and now lectures across America and leads the weekend ghost hunts at the Stanley Hotel. He’s also a portrait photographer and conceputal artist based in Northern Colorado. Follow him on Twitter: @KarlPfeiffer

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Dear HBO: Keep GoT to 7 seasons.

game-of-thrones-s4-banner

Last night, the first episode of Game of Thrones, Season 5, premiered in London. Chatter about the end-date for Game of Thrones, mixed with premiere reviews discussing the way season 5 feels like it’s moving the wheels toward an endgame has me wanting a soapbox.

Now, it’ll be very, very interesting to see what this show does in terms of telling a complete story. I think much of we’ve seen from the broadcast renaissance is reaching its pinnacle in Game of Thrones, specifically in terms of narrative and storytelling.

TV in the 80s, 90s, and much of the early aughts has been transitioning from procedural, episodic, killer/monster-of-the-week plots to overarching, narrative-heavy, serial dramas. That’s a transition. Network executives love to cash in on a prize show for as long as possible. In the days of the procedural, this was easy enough, because the more minor overarching story arcs could be manipulated and dragged out for ten seasons or more. Look at CSI (and the various spinoffs, since it’s the same show), Law and Order, NCIS, etc.

The X-Files was one of the earlier shows to try on a bigger narrative thread, and it was the first to be met with criticism for lasting far too long beyond its run. The creator’s plan for the show was a five season arc with three movies to wrap up the story. Instead we got five seasons, a movie, a renewal, four more tired seasons, a tired movie, and perpetual chatter of a third movie and possibly a reboot (both of which I think are needed, as despite the #9SeasonsAnd2Movies run, the story is yet unfinished.

But the X-Files didn’t teach network execs much Supernatural, for instance, went for five perfectly good seasons, blending monster-of-the-week procedural with a BIG story arc that became the show’s driving powerhouse for its final two seasons… Well, I say final, because after they wrapped the end of the world apocalypse plot, the creator left, his original five-season-arc being told… and CW renewed the show because fifth season was so successful. And then they renewed it again. And again. And now we’re in season, what? Eleven? Though the fanbase is strong, I’m sorry to say the story has been told.

Lost was a crucial transition to present-day TV as we know it. Lost set the perfect balance of episodic problems in the midst of a huge overarching narrative that continued to promise and promise (all on JJ Abrams now-exhausted Mystery Box theory) that the writers knew where the show was going. Though the show went maybe a season too long, and despite now hearing too many suggestions that the writers never had a plan past season 2, Lost set an end date (and one long before some whimpering season 12 finish) and the network went for it (even on a powerhouse network show like Lost) and it was a HUGE success. Sure, not everyone liked it. Sure, a lot of people completely misunderstood the end. But the show was a success. ABC treated the finale as a network event, and the finale saw ratings better than it had seen in two seasons.

It paved the way for creator control over when to end a show in a landscape of serial television that’s now cropping up everywhere, from cable to network. Breaking Bad is one of the perfect examples of such a show, which may have meandered for a season or two before finding its groove, but once the writers saw their story arc clearly, it was full steam ahead to either an epic finale, or, well, Meth-Selling, the soap-opera.

And now we have Game of Thrones. The series whose end is mentioned in just about every article written about it. Largely due to whether or not the show will surpass the book series before it’s completed by Mr. Martin. But Game of Thrones is a show that’s been based on a book series that will be finished at some point, and it’s always been a show that asks “Who Will Win?” Fans are foaming at the mouth to know who will take the iron throne before we Cut to Black.

Right now, it’s a show that’s been telling a tight story. Political intrigue, betrayal, amassing armies on a (semi) realistic scale that takes time to do. But it’s too easily a show that could get lost within itself. With no promise of the end that’s so needed, we just watch old enemies form alliances, and then new friends betray each other, over and over, until the numbers have dwindled so far that the network finally cuts the life support. And Game of Thrones has never been a show that’s wanted to do that.

So when Weiss and Benioff start talking about how they see seven seasons (and maybe a movie) to wrap up their show, I’m over here fist-pumping like a champ! Let’s do it. Let’s wreck shit. Let’s see who winds up on that throne and what it’s all going toward.

Certainly everyone brings their own perspectives to a post like this. Many fans just love spending time every week with their characters, like friends on the screen, and every episode is going to provide the needed escapes week to week.

But what I lobby for is good, powerful, tight storytelling. A story with a beginning, a middle, and a fucking crescendo of an end. Kill everybody, I don’t care. Just follow through on the promises the show has made through its run, rather than stringing what once was a good story with big promises into a soap opera of old situations between different characters.

And then there’s the network execs, who say, “Well, gosh, I love this show! The fans love this show! And as a fan I don’t want it to end! I’d love to see ten seasons or more of such a great work of art!”

Which leads me to two retorts, the first being that dragging a good story on for too long (like a bad joke or a, well, bad story that a friend may be subjecting you to) stops it being a great work of art. And the second being that it’s a bit scary to start reading between the lines of the HBO executives comments, who, even in text online, appear to be saying one thing with a forced smile while making murderous hand gestures. Says HBO President of Programming Michael Lombardo, “We’ll have an honest conversation that explores all possible avenues. If they weren’t comfortable going beyond seven seasons, I trust them implicitly and trust that’s the right decision—as horrifying as that is to me. What I’m not going to do is have a show continue past where the creators believe where they feel they’ve finished with the story.”

So, sure, on paper, he respects the creators knowing when a show is going to end! But when a person who has “President” in their title at the network your show airs on uses the word “horrifying” to describe ending the show at seven seasons, and suggests having an “honest conversation to explore all possible avenues,” that hair on the back of your neck has gotta be standing up at this point.

I can only hope it’s seven or eight seasons. I can hope that Weiss and Benioff stand their ground and pull this thing together in a spectacle of awesome. And I just really, really, do not want to see this thing go for ten to twelve seasons.

Nobody wants to see a rusty iron throne by the time some old, bored, actor/actress gets there.

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Karl Pfeiffer is a novelist, photographer, and ghost hunter. He’s the author of the novel Hallowtide and the book, Into a Sky Below, Forever. He won the first season of Ghost Hunters Academy, worked briefly with the Ghost Hunters International team and now travels the world lecturing about approaches to paranormal research. He’s also a portrait photographer based out of Colorado. 

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iTunes TV Show Album Art

Thought I’d toss up a quick blog post for you guys about iTunes Album Art.

I’m an aesthetic person living in a digital age. Where I went through college proudly arranging my TV on DVD collections on display, and a book fetish that involves tossing as many around my room as I can, I’m still all about the look of art that I love, even if that art is brilliant television or literature.

And, appropriately, bad art bugs me. Whether it’s inconsistencies in the spines of series (Thank God for Scholastic’s treatment of Harry Potter and the beautiful packaging for all nine seasons of the X-Files!), or just cluttered promo images, it’s gotta look good.

Given my background in photoshop and photography, I’ve made it a hobby to modify the iTunes Album Art for all of my favorite shows so that they’ll look snazzier in my media browser (ignoring, of course, the update that collapsed all seasons of a show into the most recent cover. Blasphemy, iTunes, blasphemy). And, to boot, I’ve gotten a massive kick out of editing the official promo poster for new seasons of my favorite shows long before the episodes will drop on iTunes.

So if you need to add album art to any shows purchased outside of iTunes, or if you want to modify what’s already there (Right click your season, go to info, and paste into the Artwork tab), here’s a list of some of my favorite modifications.

American-Horror-Story-S1

This is the original iTunes cover for season one of American Horror Story. Though the later subtitle would be referred to as “Murder House”, I love the simplicity of the design, and keeping the images defining which subtitle the season was. So as Hollywood later added subtitles to the art, I kept the minimalist design.

American Horror Story Season 2 Asylum Itunes Art

American Horror Story Coven iTunes Art

American-Horror-Story-S4-4

(The better version of this one is on its way when I can find a higher res shot of the face)

American-Horror-Story-S4-7

Then, to keep beating the AHS horse, I also have supplied consistent album art with the subtitle of each season, but without the small differences, like FX logos and changing around the logo layout. The season 4 one is an alternate cover because it worked better with the top-hatted lady.

American-Horror-Story-S1-2American-Horror-Story-S2-2American-Horror-Story-S3-3American-Horror-Story-S4-5American-Horror-Story-S5-1

Hannibal’s Season Two poster was so brilliant, it actually brought me back to the first season, which I binge-watched in a week. iTunes has an annoying “Season” two title above the Hannibal title, but this is so much sleeker and closer to the first season artwork of just Mads wiping his mouth.

Hannibal Season 2 iTunes Art

Then of course, a month out of the third season premiere for Hannibal, official season 3 art, and an international variant if you like it better.

Hannibal-S3 Hannibal-S3-2

House of Cards isn’t available in digital yet, as part of Netflix’s push to get you to get a subscription, but if you’ve ripped your first season DVDs or find yourself in sudden possession of digital files in your iTunes library just out of the blue sky, you might just want some nice art to spice them up.

House of Cards Season 1 iTunes Art

Season two took a bit of photoshop finesse, as a simple crop of the promo poster doesn’t quite work, with either useless text or too much negative space, so a touch of title shifting and we’re good to go.House of Cards Season 2 iTunes ArtAnd I’m hot to trot off the presses on turning out the brand new Season Three poster into your itunes album art only two weeks before the big premiere! Might not be quite as sharp as the first two seasons, but it’s still a damn good poster, I think.

House of Cards Season three 3 poster itunes album art promo

Supernatural has always had some of the most inconsistent digital album art, mostly just grabbed from various promo posters, but their DVD art has always been gorgeous and consistent. So I’ve cropped them down for you! (Apologies if you own past season five, but that’s where I’ll always insist the show actually ended. Anything after is just the network leaching off its success. Kripke left, the arc wrapped).

Supernatural S1

Supernatural S2

Supernatural S3

Supernatural S4

Supernatural S5

True Detective is another that you should grab some excellent art for in case it somehow may have appeared on your computer out of the blue. Though the show is chock full of amazing images and great promos, there’s one that truly speaks as a future DVD cover. Most of these as posters so far have a bunch of useless text atop the photo too, but since I couldn’t find a blank one to shop, bad content-awareing will have to suffice. Still does the job though.

True Detective Season 1 iTunes Art

And last but certainly not least, like its HBO counterpart, True Detective, if the new season of Game of Thrones should appear on your computer, you’d better get yourself some spiffy album art.

Update: True Detective is now available on iTunes with a free trailer and featurettes. The official cover art for the show looks just like this one, only without the crummy content-awareing, so it’s easy to freely download the trailer and copy paste the art onto your files.

Game of Thrones is usually tricky, as they come out with Character Posters each season, but these are never DVD covers. Last year’s dragon-shadow poster became the DVD cover just this past month, so I’d be willing to put my money on the three-eyed Raven official poster being this season’s media art. A quick photoshop later, and this is my best guess for next year’s digital release art.

Game of Thrones Season 4 iTunes Art

Game of thrones season 5 s5 poster itunes art HBOHope this helps you guys out!

UPDATE:

Penny Dreadful just premiered its pilot and I’ve got to say, it’s pretty good. Hard to find a great promo poster, but this is a modification of the best one I could find.

Penny-Dreadful-S1

Penny-Dreadful-S2-2

And, even though it’s not out on DVD yet, some Hemlock Grove.

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And to celebrate the dropping of season two of Hemlock Grove:

Hemlock-Grove-S2

And if anyone is still watching this trainwreck of a show… well, you’re in good company. Here’s the final season of Californication:

Californication S7

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Game of Thrones, Mindless Television, and RISK

Wanted to write a quick blog inspired by a twitter conversation (because I need to blog more and this is exactly the kind of thing that should be blogged).

And so it’s going to be in TWO PARTS!

Part One: I hate you because you’re BRILLIANT.

I was perusing the glorious re-tweets of the twitter account @RedWeddingTears. If you’ve been living under a rock the past few days, Game of Thrones penultimate episode of season 3 rocked the minds and hearts of its fan base with a shocking death. (I suspect its not much of a spoiler to point out that all the hubub revolved around a death).

And though many of the tweets are quite hilarious,

Screen Shot 2013-06-06 at 3.40.51 PMOthers are quite saddening.

Screen Shot 2013-06-06 at 3.40.05 PMOf course, I’m instantly reminded of FilmCritHulk’s recent column about spoilers and the different ways of consuming media. Which (spoiler) essentially breaks down as such: There are four types of movie-goer: the ones who go for a good experience, the ones who go for an EPIC experience, the ones who appreciate the thematic and symbolic nuances, and the ones who appreciate the craft and making of the film itself.

I like to think I’m firmly in the third category, with a healthy appreciation of the other three. While I think that a tremendous amount of weight falls into this third category (I’ve had intellectual engagement with films that falls on a level far more profound than a purely emotional one), a tremendous amount of weight falls upon the first two.

And I find it equal parts hilarious and tragic when people say that a show should be cancelled (or that they’re going to stop watching television altogether) because they’ve had such a profound reaction.

To say, through tears, that Game of Thrones is “treacherously written” is laughably ironic.

And not simply for the sake of the unintended “treacherously” (I suspect “terribly” to be more the idea). Eliminating treacherous writing would eliminate all sense of tension at all.

But that in a lot of ways is George R. R. Martin’s whole point. We’re far too used to watching our heroes with the expectation that they’re going to succeed. He’s flipping our traditional notions entirely on their heads. Is that his only trick? I’m not sure that’s the case, but with good writing, it’s a fine single trick to have.

See, the great irony of these tweets is that if writing can force you into a reaction that profound and gut-wrenching, that’s incredible writing. The hardest jobs of a writer is to address the main two categories of consumer: the ones who want to be emotionally moved, and the ones who want to be intellectually moved. Game of Thrones is doing both right now. Emotional, political, and loosely social themes contextualized by painful and wild plot twists? That’s an achievement.

And if you’re watching to not be moved to the edge of your seat, it means that you either want a story that’s predictable and banal, or that the writing has failed in making you care. Right now, Game of Thrones is neither banal nor un-sympathetic.

My twitter conversation then moved into the idea that if such people are threatening to stop watching television entirely, perhaps that’s a good thing.

Which leads me to Part Two: Is television still an evil that’s sucking our brains? 

We’re in what I like to call the second golden age of television right now. Which is to say, despite the advent of reality television and the cut-throat nature of network primetime mostly-procedural television, cable networks have risen and given intellectual, broad-scoping, serial television a place to thrive. This began by their trust in their audience, and the shows that they invite. Breaking Bad is debatably the greatest show on television right now. But Breaking Bad would not have gotten to the place that it is now without having to fight its way through the first three seasons. I only watched Breaking Bad because I wanted to watch the bumbling figure of Walter White in his first season transform into the face on the season four DVD cover.

Breaking-Bad-Season-4-posterA show like that (regardless of the clash in formats) would never make it that long on network television. And yet, here it’s the best on all of TV.

Because of this uprising in cable shows, we’re having this second golden age in television. We’re realizing again what TV can be. And it’s not what we thought it was. Though TV has been reinventing itself for longer than I’ve been alive (even since my birth, we’ve watched the rise of both episodic crime television and reality television), we’ve hit a new age in the intellectual and emotional capacity TV can hold. Game of Thrones is shocking audiences across the world. Mad Men, Walking Dead, Breaking Bad, American Horror Story and others are doing things unheard of and reaping the rewards of smart audiences flocking.

Netflix, in the best decision they’ve ever made, recognized the long-term audience in their publication of old television serials that hook audiences for weeks at a time as well as the success of serial narrative-driven cable television, and they dove headlong into House of Cards, which in my opinion easily rivals the brilliance of Breaking Bad. Of course, Hemlock Grove and the revival of Arrested Development have only driven their success further. 

The point here being that though we’re engaging different parts of our brains, though we look like automatons when our glazed over eyes watch endlessly the dancing images on the boob toob,

tumblr_m7javtQmec1qzguyto1_r1_500there is finally a genuine intellectual and emotional work being done through the medium of television.

Is it a healthy stand-in for reading? Perhaps not as much. But is it finally an intellectually engaging one, challenging us on moral, social, and thematic issues? Absolutely.

And, I’d beg to suggest, if you can’t handle those emotions, or having those things you fall in love with be torn from you, or having the things you take confidence in believing suddenly subverted, I’d stick to reality shows. But if you want to step up and finally engage in something profound, that could change your life, these types of stories are becoming more and more available.

I can only hope that purely reactionary viewers realize that, and that the cable networks don’t become so flogged with competition for viewers’ eyes that they forget that good art takes time.

As a viewer, that’s not always fun. And as a network, it’s not always safe. But that’s risk. And risk is crucial.

Karl Pfeiffer won the first season of Ghost Hunters Academy and went on to work with the Ghost Hunters International team. He’s the author of the novel Hallowtide, writes for the TAPS Paramagazine and Paranormal Pop Culture Blog, works with investigative teams across Colorado, lectures across America, and leads the public ghost hunts at the Stanley Hotel. More can be found at www.KarlPfeiffer.com

 

 

 

 

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