At its best, GOT was a beast as rare as a friendly dragon in King’s Landing: it was sociological and institutional storytelling in a medium dominated by the psychological and the individual. This structural storytelling era of the show lasted through the seasons when it was based on the novels by George R. R. Martin, who seemed to specialize in having characters evolve in response to the broader institutional settings, incentives and norms that surround them.
What they did is something different, but in many ways more fundamental: Benioff and Weiss steer the narrative lane away from the sociological and shifted to the psychological. That’s the main, and often only, way Hollywood and most television writers tell stories.
This is an important shift to dissect because whether we tell our stories primarily from a sociological or psychological point of view has great consequences for how we deal with our world and the problems we encounter.
Reading this article made me realize why I love about my favorite TV shows, The Wire and Deadwood, and why I find it so hard to find any shows in the modern landscape that I connect with on the same level.
It also made me realize that the stories I tend to write have a tendency towards the sociological instead of the psychological (I don’t think any story is 100% on either side of the spectrum).
It’s hard for me to limit something to just one or two main characters — I usually get bored and want to bring in more characters or throw a couple characters into many different situations where they interact with people from different parts of society or with different POVs. Or I start with a collection of ideas that I want to work through comedically or dramatically, and then map the characters or the situations to those ideas.
And I honestly get kind of bored just thinking about a single character overcoming their demons or whatever, and the typical screenwriting advice of “put your character in a bad place and then make their life hell” kind of bores me as well.
So it’s really refreshing to have someone put a name on a different kind of writing that I knew existed but had never seen put into words.
And come to think of it, my love for sociological storytelling probably also explains my love for The Office, which inspired the amazing series of sociological essays, The Gervais Principle. And it’s probably why I love Buñuel so much.