In the article, "Why Game of Thrones is taking over the world," writer Charlotte Runcie considers the popularity of the HBO television series noting that it is one of most popular shows of all time and is broadcast in roughly 170 countries. The series, which is based on a series of books by George R R Martin, is packed abundantly with everything from poisonous murders to beheadings, fights and dragons. The appeal is intricate and intense among fans. The show is recognized as exploring the topic of power, weaving in the comic and harsh realities of what is means to achieve glory. The show is stated to be exhilarating to watch, offering something for everyone (p.1). It appeals to fans on multiple levels in terms of interaction as the plots, characters and emotions that emerge in each episode afford an opportunity for discussion and continued love for the program.
It becomes necessary to assess and examine the relevance behind fans’ love of Game of Thrones. What does the show offer to fans that keep them coming back week after week, and season after season; and what effect does this have on the continued viability and popularity of the show? Will there ever be a time where the show will lose its luster among fans? This paper discusses how fans interact with Game of Thrones through the perspective of the decoding theory, and the theory of fandom. The paper also explores the effects of continued consumption as it relates to the continued success of the television program.
Television Show Success
The obvious question to ask first is what makes a television show successful? It appears that one of the key elements behind a successful TV program, dramas in particular, is a season long plot or story that viewers can sink their teeth into. Viewers enjoy delving into the lives of characters, and observing from week to week, or even daily how the characters make decisions which ultimately impact their lives. Another element that tends to make a television show successful is different ideas, and themes. Audiences like to see that there is minimal, if any, repetition as it relates to what is occurring. The writers should feel an urge to keep the audience wanting more after every episode. Moreover, audiences enjoy consistency, accuracy and continuity with the themes and ideas (Hassler-Forest, 2014; Saunders, 2014; Schirra, Sun & Bentley, 2016). Essentially, audiences want to feel the characters that they are watching in the program and subsequently, relate to them in some form or fashion.
It might be argued, then that if these particular elements are not present in a television show, that the show will not gain any kind of fans or viewership after the initial pilot. Therefore, it is extremely important for a television show to encompass the aforementioned elements and to immediately show them to the audience, as to gain a significant footing in terms of popularity. Another element that is often recognized as a prime ingredient for television show success is distinctiveness. The television program should be interesting, fascinating and substantive. In other words, the viewer should be learning something, or obtaining something from watching the program – even if it happens to be a fantasy (Jamieson & Romer, 2014; Wheatley, 2015; Schirra, Sun & Bentley, 2016). To this end, writers tend to put together characters which consumers can immerse themselves in.
One of the primary reasons behind dramatic serials, and soap operas is their ability to captivate through compelling stories that offer tinges of current issues – or even archaic ones. Audiences are able then to find not only relevance in watching the show, because it has touched on an issue they are familiar with, want to know more about or in some instances, have never heard of. Perhaps, this is why Game of Thrones is considered to be one of the best shows to emerge in quite some time. Although, it is set in a fantasy world full of dragons and the like, it touches on issues that are important to the human condition, and psyche and produce an element of fandom within society because of it.
Paganism & Game of Thrones
According to Saunders (2014), television shows and films that include themes of paganism are enjoyed by viewers. Audiences seem to find an allure with these works, specifically as it relates to fantasy, and spiritual related elements that are incorporated into the mediums. The reason why HBO's Game of Thrones is so popular is due to the richness of medieval world that is complete with giants, sorcerers and all things paganism. Western society, and to a certain degree, Eastern cultures are known for having a heavy bond and enthusiasm for paganism. Thus, the television series is a perfectly crafted spectacle because of the following:
[Its] primary focus is on the warring Stark and Lannister clans, but also includes important subplots [and] a host of secondary characters. According to the [creator] Martin, religion in Game of Thrones is enormously important, despite the fact that some have criticized the series for giving short shrift to questions of faith, a central theme in the novels" (p.139).
Yet, the reason the show receives some criticism as it relates to faith is because people are paying attention to how religion and spirituality are depicted. Arguably, this is a prime reason for the viewership. Saunders (2014) continues by noting that:
“such obvious engagement with religious themes is what [captures] the hearts and minds of viewers. It is epic. Games of Thrones presents a text, which cannot be read as pro-Christian, or even friendly to monotheism. [This narrative appeals to audiences as it is a shift from the norm in terms of how religion is displayed on television]. The treatment of faith is universalist in theme and does not inherently preach or have a tendency to strictly adhere to one belief system or another" (p.142-143).
Hassler-Forest (2014) and Wells-Lassagne (2014) consider faith an instrumental focus to the show as it assists in reinforcing the elements that are needed in shows that have a dedicated fan base and following. The concept of paganism is fascinating to most people in society, and is relatively important to popular culture as evidenced by the numerous religions that are practiced and the extent to which fantasy is showcased in entertainment such as games, movies, fiction and television shows other than Game of Thrones. There is a recognition by the writers that the people or rather general public is hungry to see substantive characters and plots scattered across their television screens in a provocative, religious centered manner (2014). Essentially, the television show provides an outlet for modernizing Paganism as a religion that is both old fashioned, but also modern. The concept of magic and creatures of a fantastical nature has existed for centuries in texts, and is weaved into multiple religions and ideologies. Since religion is a part of societal culture, the connection between Game of Thrones is made, and subsequently has allowed the show to become extremely popular in this regard.
The encoding/decoding model of communication is applicable here. The model, which was first discussed by Stuart Hall in 1973, puts forth that television shows tend to display certain messages that can be interpreted and observed in a variety of ways (1973). The general idea is that the audience receives certain messages through the vehicle of television, or other mediums and decodes said message. Additionally, the audience may be able to shift the context of the message that the television show is revealing. For example, one of the main characters, John Snow, recently met his downfall at the conclusion of the show’s fifth season. The show received a lot of backlash from viewers about it. The Hall model applies here because viewers expressed concern of the direction of the show after this, and have complained about one of the main characters being killed off. Jon Snow has been shown in recent episodes, which suggests that the viewers were able to make a change in terms of the show’s direction. The Hall model might also assist in explaining the extensive expression of paganism that has been heavily integrated into the show in the last few seasons. While the show always had a paganism slant, in the last two seasons, the show has appeared to have proverbially upped the ante.
Saunders (2014) writes that the religious dynamic in the HBO show provides a contribution to the contemporary discussion on age-old beliefs and practices. Bloggers are said to have stated that fans and viewers alike have attempted to replicate many of the practices associated with paganism as a result of the show. The messages that the show is sending have essentially been received loud and clear. Additionally, the treatment that the writers give the plots and characters in the show is reflective of "an attempt to demonstrate [how] popular cultural treatments of European polytheism [is] shifting" (p.150). While religion is said to have been incorporated in some media (i.e. films and prior television shows), Saunders (2014) continues by stating that never before has it been center stage like it is with Game of Thrones. There was once a time where paganism in Hollywood was unthinkable. Pagans "are now emerging as heroes in narratives" (p.150). When relating this to the Hall framework, the idea is that writers are sprinkling in messages of Paganism into the scripts and audiences are decoding that message, and shifting their knowledge and understanding of the religion.
Jenkins, Game of Thrones and Culture
Fandom is a specific term that is often used to characterize the synergy that exists between individuals in their collective interests in a particular form of media, hobby or other genre. Jenkins theory of fandom considers that people become fans for a variety of reasons, and this fandom becomes a considerable model for noteworthy participation. Basically, the framework is suggestive of individuals, who form a collective or community that provides a substantive importance and rationale for the popularity of a particular medium or hobby. It helps to explain why there are stamp collecting groups, and people who are enthralled by yoga and alternative forms of medicine. Similarly, the theory assists in highlighting what Saunders (2014) argues about the popularity behind Game of Thrones.
Koistinen (2015) argues that fan communities are compelling in drawing out the definitions and imaginations of humanity. It brings people together in a collective space for building to a certain degree a better understanding of the human essence. Individuals are able to exchange their thoughts and perspectives on a specific television show or concept and consequently, permeate popular culture even more. A significant amount of fandom exists in the realm of science fiction and fantasy, mostly, but has in recent years expanded to other areas and across multiple mediums such as fan sites, blogs, and social media platforms. Moreover, there are often conventions and get togethers in a meaningful space for viewers of these items. The idea of fandom spans across ethnicity and racial conceptualizations and contexts and does not recognize any kind of boundary in the sense of culture (p.35-36). This only furthers the rationale behind the popularity of Game of Thrones. There is a relatability that fans have with both other fans and the show itself.
It can be said that because of the extensive and wide-ranging popularity behind Game of Thrones, that this only furthers the theory by Jenkins. Jenkins (1992) considers that there are multiple ways that fans engage in a particular show. This can include attending conventions, engaging in extensive discourse about the show itself, buying and trading collectibles and wearing costumes (1992). There are independently operates events and other types of activities that are centered on the television show that occur year-round including tours, top secret special gatherings and other important outlets that afford fans the opportunity to unite under the television series. The media’s coverage of these events both at the local and national levels is allowing the television series to become even more well-known.
Robinson (2014) and R (2015) state that it keeps the series relevant and fresh, and does not force a kind of dismissiveness of the show. While it is true that there is an undeniability about some shows like Game of Thrones, The Sopranos, and Star Trek, there is often a skepticism in the general public as to whether it will survive for a considerable amount of time. In other words, how long will it remain relevant? With fan oriented events and continual discussions on certain television shows as well as media coverage, certain shows do not have to worry about their survival. Game of Thrones is noted for seeing a noteworthy rise in its viewership garnering "6.6 million viewers for its Season 4 premier, up from 2.2 from [the previous] year then record 4.4 million premiere" (Robinson, 2014). Here again, the fandom is keeping the television show viable to the point, where there is almost an unprecedented amount of viewership and involvement of society – for whatever the reason may be – in all things Lannister.
Robinson (2014) continues by stating that the fandom is so rich for the television show that in addition to the rise in viewership in the last year or so, and the events that are already in existence for the show, “the popularity of the fantasy TV show is spilling into other mediums as well. The most recent installment in George R.R. Martin’s A Song of Ice and Fire book series (the basis for Game of Thrones) which came out only three months after the show premiered in 2011, saw unprecedented sales" (p.1). So can it be said that the television show is showing no signs of stopping? Perhaps.
Harrington, Gray and Sandvoss (2007) examine the continuance of fandom, and ask if there will ever be a time when certain brands are no longer empowering to fans? (2007). In other words, will television shows like Game of Thrones, Star Trek, and brand names like Coke and Pepsi ever go out of style? Harrington, Gray and Sandvoss (2007) state that the likelihood of this happening is very slim because of the saturation of these brand names and the fact that there is such a high fan base for certain things. Consumers are cultic in their appreciation of certain items within society. From characters to products, the landscape works in favor of both the companies that create these products and shows, as well as the consumers. It works for the companies because they can keep creating the product and recreating it. It works for the fans because they never get tired of seeing it, or having it in their lives. There is a considerable amount of value that is placed on these items among the general population (p.358-360). This suggests that Game of Thrones is not going anywhere – even if viewership were to suddenly drop substantially and the show be cancelled, because there will always be fans of the show, just as there are fans of other television shows that have since ended.
Is it Too Soon to Call Game of Thrones a Classic?
Lapinska (2013) asks where there is a classic connotation that can put on Game of Thrones the way it exists on say, The Hobbit. Specifically, the author asks if there is a long fan base that exists for the product. The author refers to it as a product, in the sense that the show has expanded to other mediums such as books, and other related items. The probability of the show becoming a classic is rather likely because of the characters and overwhelmingly, interesting plot lines (p.52). As mentioned earlier, audiences love to tune into something that they can sink their teeth into and this means, a plot that is rich with sophistication and has some depth behind it. Moreover, it also means that the characters have to be relatable in some form or fashion. For this reason, Lapinska (2013) argues that Game of Thrones could be considered classic in the sense that it includes all of the necessary elements that are characteristic of most classic in terms of having great symbols and characters. The popularity of the show cannot be overlooked, especially because of its fantastical elements and rich elements. The author writes:
"A Game of Thrones by George Martin [was] first published in 1996 and became immensely famous a couple of years ago when it was made into a TV series. Its success is centered on the characters of Tyrion Lannister and John Snow, and the families and society [that exist around them]. The idea behind the show, a throne is a symbol of power, substance and shape [which cannot be overlooked]" (p.52-53).
Arguably, it is the fans that make the show more than the characters or plots or settings, and subject matter. While Game of Thrones is immensely popular for these reasons, there have been and are other shows that have plots and characters that are just as relatable and meaningful. This means that the show is not necessarily popular or is deemed a classic because of these reasons but is so because of the fans. The fans are what have made the show what it is today, and will more than likely make it what it continues to be moving forward. Therefore, to say that Game of Thrones is a classic is an understatement, because if one were to accept Lapinska’s (2013) argument about what is typically deemed a classic – the brand became one in 1996, when Martin first released the book. Yet, there is minimal understanding of the brand prior to the television show’s emergence. This means that the fans are what is keeping the brand alive, and backs up the notions mentioned earlier about how it is people who keep the fire burning and spark alive in certain media. It helps explain the remaining and lingering popularity behind television shows like The Twilight Zone, I Love Lucy, Star Trek, and now Game of Thrones.
Conclusion
This paper discussed Game of Thrones as it relates to the concept of popularity. In particular, the paper delved into the topic of what makes a television show successful, and why some television shows have been immediately canceled, while others end up being noted as classics by audiences. The paper explored the Hall model of encoding and decoding and connected it to the television show. Moreover, the paper also explained Jenkins’ theory of fandom and the need for fans to keep a television show, hobby, or other type of activity alive with their unique passion for it. The paper also discussed why the television show, and by extension, the brand as a whole can be deemed a classic.
Game of Thrones is a language, which speaks to the human dynamic. Whether through the characters, plot lines, actors and actresses, themes, there is an irrefutable quality about it that other television shows that are currently on air have not been able to match, and to a certain degree, television shows that have been on air haven’t been able to attain. Simply put, Game of Thrones is in a class by itself and undoubtedly will remain that way as long as viewers tune in from week to week and season to season, to immerse themselves in the fascinating aspects of its fantastical world.
References
Gray, Jonathan, Cornel Sandvoss, and C. Lee Harrington. Fandom. New York: New York University Press, 2007. Print.
Hall, Stuart. "Encoding, Decoding". Georgetown University. N.p., 1973. Web. 9 May 2016.
Hassler-Forest, D. (2014). Game of Thrones: Quality Television and the Cultural Logic of Gentrification. tvseries, (6).
Jamieson, P. and Romer, D. (2014). Violence in Popular U.S. Prime Time TV Dramas and the Cultivation of Fear: A Time Series Analysis. [online] Available at: http://repository.upenn.edu/cgi/viewcontent.cgi?article=1365&context=asc_papers [Accessed 7 May 2016].
Jenkins, Henry. Routledge, 1992. Print.
Koistinen, A. (2015). Lectio praecursoria : (Re)Imagining Humanity in Popular Science Fiction Television. Fafnir, [online] 2(2), pp.34-40. Available at: http://journal.finfar.org/articles/327.pdf [Accessed 7 May 2016].
Łapińska, M. (2013). “A Game of Thrones” – a New Classic?. Crossroads. A Journal of English Studies, (3), pp.52-54.
R., D. (2015). Why is Game of Thrones so popular? by DJ Bowman-Smith. [online] SFFWorld. Available at: http://www.sffworld.com/2015/10/why-is-game-of-thrones-so-popular-by-dj-bowman-smith/ [Accessed 7 May 2016].
Robinson, J. (2016). Why Game of Thrones is even more popular than you think.. [online] Vanity Fair. Available at: http://www.vanityfair.com/hollywood/2014/04/game-of-thrones-record-breaking-ratings [Accessed 7 May 2016].
Runcie, C. (2015). Why Game of Thrones is taking over the world. [online] Telegraph.co.uk. Available at: http://www.telegraph.co.uk/culture/tvandradio/game-of-thrones/11525133/Why-Game-of-Thrones-is-taking-over-the-world.html [Accessed 7 May 2016].
Saunders, R. (2014). Primetime Paganism. Correspondences, [online] 2(2), pp.121-157. Available at: http://correspondencesjournal.com/wp-content/uploads/2014/12/13302_20537158_saunders.pdf [Accessed 7 May 2016].
Schirra, S., Sun, H. and Bentley, F. (2016). Together Alone: Motivations for Live - Tweeting a Television Series. [online] Available at: http://web.mit.edu/bentley/www/papers/paper653.pdf [Accessed 7 May 2016].
Wells-Lassagne, S. (2014). Religious aesthetics in Game of Thrones. tvseries, (5).
Wheatley, H. (2015). Visual Pleasure and Narrative Television. Feminist Media Studies, 15(5), pp.896-899.
