Game Of Thrones 10 years on: How the series changed TV forever

Ten years after the first episode of Game of Thrones, the way we look at television has changed and we’re trying to fill the void left by everyone.

Game Of Thrones is the world’s largest television show, not only setting budget, effectiveness and viewership records, but also changing the media.

When the epic fantasy series first aired in 2011, television was still a poor relationship for the film, and free-to-air was still the dominant sector of the medium.

Ten years after the first episode on April 17, 2011, television is at least as good as a movie, with billions of dollars budgeted for television shows trying to become the “new GoT.”

“I think it changed television,” said Professor Anthony Lambert, a senior researcher in media and cultural studies at Macquarie University.

Television was already changing at the end of the “2000s” and there were better devices that allowed more talent to switch to the media, develop streaming, and allow television to compete with cinemas.

“It showed us what this new environment is,” Lambert says.

“It set the template for modern television and short television series such as Big Little Lies, and whatever else Nicole Kidman seems to be doing right now.

“Even tall women (Gwendoline Christie) and short men (Peter Dinklage) have made some careers, which really defines the moment we decided to watch TV on our mobile phones. did.

“They were lucky as long as they were original, but they rode a wave of change.

“It’s really great to watch — and now people don’t want that kind of static TV you’re back on that day.”

Game Of Thrones not only survived age, race, and cultural differences, but also hastened the death of a “really long television season.”

At the turn of the century, hit shows such as Ally my Love have a season of about 25 episodes, and the studio keeps cranking them out every year until the storyline simply runs out of ideas and the show collapses in the rating. I was expecting it.

“Currently, TVs are offered in short bursts of high quality,” says Professor Lambert.

Of course, it was a unlikely candidate for a global phenomenon.

“If someone suggested on paper that they would be interested in a magic and dragon show, it would have seemed to have a fairly limited audience,” says Dr. Lambert.

“On the other side, this kind of theme can be universal. They speak to the universal understanding that people thrive in the stories of melancholy and soap opera.

“Game of Thrones also comments on the changing nature of our morals and relationships.”

Dr. Lambert says he remembers when his students were “rabbiting” about the new show.

“They didn’t get it enough — and I couldn’t believe I wasn’t doing anything to watch the next episode,” he says.

It quickly captivated him with its story and “simply striking visuals,” but he also used GoT’s actual use of other media to expand its reach using websites, podcasts, and fanzines. I was also fascinated by the way I did it.

Ultimately, thanks to GoT, television is no longer the “poor cousin” of the entertainment world.

Marty Murphy is a senior instructor at the Australian Film, Television and Radio Schools, where the Game of Thrones is often used as an educational device.

He says the development of television can be traced back to the 1990s with shows such as The Wire, which gave viewers a “desire for complex stories.”

Game Of Thrones often kicked it into high gear and offered “20-25 different story threads” throughout the season.

“It brought a large and very high production value to complex narrative TVs,” he says.

It also blasted older models of television shows that relied on regular broadcast schedules, paving the way for television streaming and binding sessions.

It also showed that television can compete with cinemas for both fans, stars, and money.

“One of the main attractions of television is immersion,” says Dr. Murphy.

“The movie is dynamic and thrilling, but it takes about two hours to complete the story.

“With TV, you can enjoy the immersiveness, exploration, and ensemble of your character, and enjoy the effects of all genres that TV offers in long-distance, feature-length stories.

“The thrill of transforming a character in a two-hour movie can give you a different sense of satisfaction than a biographical exposition on a television show.

“For example, Tony Soprano remains the same, but we learn more about him throughout the season.”

The extra time allows the creators of these TV shows to actually work on more complex characters, often antiheroes, he says.

This led to complex characters like Tyrion Lannister, his brother Jaime, and their sister Selsey, who were fascinated and actually gained fan support, even if some of their actions were evil. I did.

“The audience develops a different kind of loyalty than the character and begins to empathize with them about certain things,” says Dr. Murphy. ..

“It made it possible to explore anti-hero characters that are morally complex and sometimes disgusting, as literature has done.”

Dr. Murphy says red weddings, especially events such as John Snow’s “death,” really increased the audience’s investment in characters.

“It was a very smart hook for the audience,” he says.

Long seasonal waits to see if the snow is alive also brought expectations to the heat pitch.

“It’s an old saying in the entertainment world — keep them waiting,” he says.

“People really wanted it.”

By the seventh season, he said, the show’s brand could become so powerful that the promotion of these episodes could become the acronym “GoT.”

“What the Game of Thrones did was to create a nation-state that geopolitically fights against a world of very powerful fantasy stories and embrace the wonderful idea of’Winter Is Coming’,” he says. ..

“I was waiting for winter to come, and it was delivered, and it was as terrible (for the character) as I wanted.”

Dr. Murphy says GoT’s storywriter teaches students how to create great stories by “creating many threads of conflict” with powerful characters.

And “Winter Is Coming” is a wonderful device.

“It’s an elemental force that influences everything in your character and story.”

Ultimately, GoT’s success is due to blending genres and multiple storylines with multiple characters and bending many of the rules of television.

Ten years later, “I’m trying to fill the vacuum left by everyone.”

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