We chose to do our presentation on the popular fantasy TV show Game of Thrones. This show is a brilliant example of the subtler side of positive messaging. By providing a caricature of the ills of modern society, Game of Thrones allows people to recognize these ills as they poke fun at them in their most absurd forms. For example, the violent clash among the houses as they battle for the Iron Throne is a caricaturized version of modern politics. While there are relatively few violent battles or sudden murders in the current political climate, the sheer brutality of this kind of behavior attacks the fact that politicians often attempt to perform similar acts, not on other politicians themselves, but on their character. This is most often referred to as “mudslinging” and is generally viewed as a very poor campaign strategy, reserved only for those who cannot get themselves elected on their own merit. Also, intolerance of homosexuality is mocked on the show in the story arc of Ser Loras Tyrell. Loras is a young, well-respected knight who seems to have a bright future…until the far-right Sparrows discover his homosexuality, imprison him, debate executing him, and only release him when he agrees to join their order. While this would never be allowed in modern Western nations, it shows how far anti-gay rights sentiment can go, and, by making Ser Loras sympathetic, the show allows the viewer to “step into the shoes” of the homosexual being attacked, and to see the cruelty of such behavior both domestically and abroad.
This adds to the course conversation by showing how taking stereotypes and social issues to extremes in media can show people the problems inherent in the lesser levels of these issues that we see in the modern day. It also shows how problems still existent in our modern society do not appear out of place in this violent medieval world. For example, women are often made fun of for being “ugly” even in today’s society, and, by portraying this in the character of Brienne of Tarth, a warrior woman who only desires to be accepted by her comrades, the show reveals the anachronism of this behavior in our society. Also, it should be noted that the first character to show Brienne courtesy and to give her what she desires is Renly Baratheon, who is secretly homosexual. Furthermore, the issue of racism is shown by the animosity between the Martells and their northern neighbors, the marcher lords and the Tyrells. The marcher lords poke fun at the Martells’ Rhoynish accent, calling it incomprehensible (1), while the Tyrells, and particularly Lord Mace Tyrell, are notorious for snubbing the Martells, as well as encouraging the spread of anti-Dornish “jokes.” (2)
This caricaturization (3) and superimposition of modern racism, sexism, homophobia, and political violence upon medieval culture also encourages the viewer to see these things as relics of a by-gone and barbaric era, in which the item of most import was not the well-being of the people but the advancement of one’s own interest. This would encourage people to stop exhibiting and entertaining these behaviors, in the same way we no longer condone launching violent wars upon our neighbors or burning down the local Jewish neighborhood every third Tuesday of the month. It is this idea that inspired Benhioff and Weiss, and Martin before them, to write this epic large across television screens throughout the world.
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(1) This is unlikely, as the more northerly people of King’s Landing appear to have little trouble understanding the Dornish, despite the fact linguistic differences would be greater as distances between the two kingdoms increased.
(2) The wrongness of this behavior is accentuated by the fact that it is King Joffrey Baratheon, the main antagonist of the second and third seasons, who picks up most eagerly on these jokes.
(3) I looked it up; “caricaturization” is too a word.
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