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The books sold well, earned great reviews, won prizes and led to Hillerman being honored in 1991 by the Navajo tribal council.\u003c/p>\n\u003cp>But our cultural standards have changed profoundly, and one wonders whether these mysteries would even be published now, let alone receive so much acclaim. After all, Hillerman was a white outsider whose books today would likely face charges of cultural appropriation.\u003c/p>\n\u003cp>[aside postid='arts_13932077']Yet as it stands, the Joe Leaphorn and Jim Chee novels, as they’re known, are very enjoyable books, as well as valuable intellectual property. So you get why they’re being turned into the TV series \u003cem>Dark Winds,\u003c/em> whose second season can be seen on AMC and AMC+.\u003c/p>\n\u003cp>Produced by \u003ca href=\"https://www.kqed.org/forum/904301000/robert-redford\">Robert Redford\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13894806/george-r-r-martin-signs-new-five-year-deal-with-hbo-and-hbo-max\">George R.R. Martin\u003c/a> among others, \u003cem>Dark Winds\u003c/em> retools and modernizes Hillerman’s conception. Set amidst the fiercely beautiful New Mexico landscape of the early 1970s, this entertaining series stars, is written by, and is largely directed by Native Americans. They have enlarged the women’s roles and treat Navajo culture not as sociology but as lived experience.\u003c/p>\n\u003cp>The terrific Zahn McClarnon stars as the honorably intense Lt. Joe Leaphorn, who — along with his nurse wife, Emma, played by Deanna Allison — is still reeling from the death of their son in an explosion. As coiled as a rattler, albeit a righteous one, Joe spends most of his time with two younger investigators. There’s officer Bernadette Manuelito, known as Bern (Jessica Matten), who fears her future is limited in the hardscrabble Navajo world. And there’s Jim Chee (Kiowa Gordon), who worked for the FBI in Season 1 but, feeling used by them, has become a private eye.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The new season begins with a fatal bombing outside a medical center that injures Emma. Joe suspects the bomber might be the guy who killed his son, and with Bern at his side, begins a relentless pursuit of the killer. Meanwhile Jim is being hired by a slippery blonde, played by Jeri Ryan, to find a box of personal effects that was stolen from her home.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2dGW5q-5Cfg\u003c/p>\n\u003cp>Naturally, these investigations overlap, and soon the three are dealing with a uranium tycoon, assorted dead bodies, mountainside shootouts and life and death treks through the desert, not to mention a religious cult known, ominously enough, as People of Darkness.\u003c/p>\n\u003cp>In adapting Hillerman’s work, the show’s creators keep the bones of his ’70s material, but they also want to go beyond doing just another police drama and capture truths about Navajo life. These aims don’t fully mesh. A tad old-fashioned, the series lacks the contemporary snap of \u003ca href=\"https://www.npr.org/2022/09/19/1123452609/reservation-dogs-sterlin-harjo-native-stories\">\u003cem>Reservation Dogs\u003c/em>\u003c/a>\u003cem>, \u003c/em>a better and more freewheeling show about Native Americans that owes nothing to 50-year-old mystery novels. In that series, whose third season begins next week, McClarnon shines as an amiably superstitious cop who’s vastly more relaxed — and arguably more modern — than staid Joe Leaphorn.\u003c/p>\n\u003cp>[aside postid='arts_13931888']Like nearly all crime shows, \u003cem>Dark Winds\u003c/em> has a plot that bends toward the predictably formulaic — if you can’t guess the villain, you haven’t been paying attention. The show’s true interest lies in its characters and their world — a Navajo society that is as financially strapped as it is spiritually rich, that confronts overt racism and government paternalism, that has its women forcibly sterilized and its sons drafted for Vietnam, and that leaves its members stuck between a fractured Navajo culture and the white culture that did the fracturing.\u003c/p>\n\u003cp>Just as Bern must decide whether to abandon the reservation she loves to seek a bigger future in the white world, Jim — who sports a comically huge-collared ’70s shirt — seeks a way of using his investigative skills without being sucked into being a fed or tribal cop. The show’s best scenes are the most personal ones — like Joe and Bern discussing whether she’d be better off working for the Border Patrol or Joe dealing with his dad, a former tribal cop who’s furious that his son got a college education and then didn’t escape, but wound up doing the same job he did.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Dark Winds\u003c/em> is a solidly enjoyable crime drama, but in the end, it isn’t really about our heroes uncovering the killer’s identity. It’s about the ways in which they’re searching for their own.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Back+for+Season+2%2C+%27Dark+Winds%27+is+a+cop+drama+steeped+in+Navajo+culture&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Set in New Mexico in the 1970s, ‘Dark Winds’ stars, is written by, and is largely directed by Native Americans.","status":"publish","parent":0,"modified":1705005215,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":805},"headData":{"title":"‘Dark Winds’ on AMC Updates Tony Hillerman Book Series | KQED","description":"Set in New Mexico in the 1970s, ‘Dark Winds’ stars, is written by, and is largely directed by Native Americans.","ogTitle":"Back for Season 2, ‘Dark Winds’ is a Cop Drama Steeped in Navajo Culture","ogDescription":"","ogImgId":"","twTitle":"Back for Season 2, ‘Dark Winds’ is a Cop Drama Steeped in Navajo Culture","twDescription":"","twImgId":"","socialTitle":"‘Dark Winds’ on AMC Updates Tony Hillerman Book Series %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Back for Season 2, ‘Dark Winds’ is a Cop Drama Steeped in Navajo Culture","datePublished":"2023-07-31T18:08:55.000Z","dateModified":"2024-01-11T20:33:35.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Michael Moriatis","nprByline":"John Powers","nprImageAgency":"AMC","nprStoryId":"1190198520","nprApiLink":"http://api.npr.org/query?id=1190198520&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2023/07/27/1190198520/dark-winds-review-season-2-tony-hillerman?ft=nprml&f=1190198520","nprRetrievedStory":"1","nprPubDate":"Thu, 27 Jul 2023 14:01:00 -0400","nprStoryDate":"Thu, 27 Jul 2023 05:01:03 -0400","nprLastModifiedDate":"Thu, 27 Jul 2023 05:01:03 -0400","nprAudio":"https://play.podtrac.com/npr-191676894/edge1.pod.npr.org/anon.npr-mp3/npr/fa/2023/07/20230727_fa_d17d3b66-8fb9-47d2-a447-3ddd887d4390.mp3?orgId=427869011&topicId=1163&d=417&p=13&story=1190198520&awCollectionId=1190226679&awEpisodeId=1190198520&ft=nprml&f=1190198520","nprAudioM3u":"http://api.npr.org/m3u/11190537002-1c6f84.m3u?orgId=427869011&topicId=1163&d=417&p=13&story=1190198520&ft=nprml&f=1190198520","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13932418/back-for-season-2-dark-winds-is-a-cop-drama-steeped-in-navajo-culture","audioUrl":"https://play.podtrac.com/npr-191676894/edge1.pod.npr.org/anon.npr-mp3/npr/fa/2023/07/20230727_fa_d17d3b66-8fb9-47d2-a447-3ddd887d4390.mp3?orgId=427869011&topicId=1163&d=417&p=13&story=1190198520&awCollectionId=1190226679&awEpisodeId=1190198520&ft=nprml&f=1190198520","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1970, a journalist named Tony Hillerman launched a series of crime novels featuring two Navajo cops who work for the tribal police on a reservation in New Mexico. The books sold well, earned great reviews, won prizes and led to Hillerman being honored in 1991 by the Navajo tribal council.\u003c/p>\n\u003cp>But our cultural standards have changed profoundly, and one wonders whether these mysteries would even be published now, let alone receive so much acclaim. After all, Hillerman was a white outsider whose books today would likely face charges of cultural appropriation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13932077","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Yet as it stands, the Joe Leaphorn and Jim Chee novels, as they’re known, are very enjoyable books, as well as valuable intellectual property. So you get why they’re being turned into the TV series \u003cem>Dark Winds,\u003c/em> whose second season can be seen on AMC and AMC+.\u003c/p>\n\u003cp>Produced by \u003ca href=\"https://www.kqed.org/forum/904301000/robert-redford\">Robert Redford\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13894806/george-r-r-martin-signs-new-five-year-deal-with-hbo-and-hbo-max\">George R.R. Martin\u003c/a> among others, \u003cem>Dark Winds\u003c/em> retools and modernizes Hillerman’s conception. Set amidst the fiercely beautiful New Mexico landscape of the early 1970s, this entertaining series stars, is written by, and is largely directed by Native Americans. They have enlarged the women’s roles and treat Navajo culture not as sociology but as lived experience.\u003c/p>\n\u003cp>The terrific Zahn McClarnon stars as the honorably intense Lt. Joe Leaphorn, who — along with his nurse wife, Emma, played by Deanna Allison — is still reeling from the death of their son in an explosion. As coiled as a rattler, albeit a righteous one, Joe spends most of his time with two younger investigators. There’s officer Bernadette Manuelito, known as Bern (Jessica Matten), who fears her future is limited in the hardscrabble Navajo world. And there’s Jim Chee (Kiowa Gordon), who worked for the FBI in Season 1 but, feeling used by them, has become a private eye.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The new season begins with a fatal bombing outside a medical center that injures Emma. Joe suspects the bomber might be the guy who killed his son, and with Bern at his side, begins a relentless pursuit of the killer. Meanwhile Jim is being hired by a slippery blonde, played by Jeri Ryan, to find a box of personal effects that was stolen from her home.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/2dGW5q-5Cfg'\n title='//www.youtube.com/embed/2dGW5q-5Cfg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Naturally, these investigations overlap, and soon the three are dealing with a uranium tycoon, assorted dead bodies, mountainside shootouts and life and death treks through the desert, not to mention a religious cult known, ominously enough, as People of Darkness.\u003c/p>\n\u003cp>In adapting Hillerman’s work, the show’s creators keep the bones of his ’70s material, but they also want to go beyond doing just another police drama and capture truths about Navajo life. These aims don’t fully mesh. A tad old-fashioned, the series lacks the contemporary snap of \u003ca href=\"https://www.npr.org/2022/09/19/1123452609/reservation-dogs-sterlin-harjo-native-stories\">\u003cem>Reservation Dogs\u003c/em>\u003c/a>\u003cem>, \u003c/em>a better and more freewheeling show about Native Americans that owes nothing to 50-year-old mystery novels. In that series, whose third season begins next week, McClarnon shines as an amiably superstitious cop who’s vastly more relaxed — and arguably more modern — than staid Joe Leaphorn.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13931888","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Like nearly all crime shows, \u003cem>Dark Winds\u003c/em> has a plot that bends toward the predictably formulaic — if you can’t guess the villain, you haven’t been paying attention. The show’s true interest lies in its characters and their world — a Navajo society that is as financially strapped as it is spiritually rich, that confronts overt racism and government paternalism, that has its women forcibly sterilized and its sons drafted for Vietnam, and that leaves its members stuck between a fractured Navajo culture and the white culture that did the fracturing.\u003c/p>\n\u003cp>Just as Bern must decide whether to abandon the reservation she loves to seek a bigger future in the white world, Jim — who sports a comically huge-collared ’70s shirt — seeks a way of using his investigative skills without being sucked into being a fed or tribal cop. The show’s best scenes are the most personal ones — like Joe and Bern discussing whether she’d be better off working for the Border Patrol or Joe dealing with his dad, a former tribal cop who’s furious that his son got a college education and then didn’t escape, but wound up doing the same job he did.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Dark Winds\u003c/em> is a solidly enjoyable crime drama, but in the end, it isn’t really about our heroes uncovering the killer’s identity. It’s about the ways in which they’re searching for their own.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Back+for+Season+2%2C+%27Dark+Winds%27+is+a+cop+drama+steeped+in+Navajo+culture&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13932418/back-for-season-2-dark-winds-is-a-cop-drama-steeped-in-navajo-culture","authors":["byline_arts_13932418"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_75","arts_990"],"tags":["arts_977","arts_1945","arts_3178","arts_11420","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13932419","label":"arts_140"},"arts_13920290":{"type":"posts","id":"arts_13920290","meta":{"index":"posts_1591205157","site":"arts","id":"13920290","score":null,"sort":[1665599780000]},"guestAuthors":[],"slug":"why-everyone-is-talking-about-negroni-sbagliato-and-how-to-make-your-own","title":"Why Everyone is Talking About Negroni Sbagliato — And How to Make Your Own","publishDate":1665599780,"format":"standard","headTitle":"Why Everyone is Talking About Negroni Sbagliato — And How to Make Your Own | KQED","labelTerm":{},"content":"\u003cp>Move over, Aperol spritz. The reign of Negroni sbagliato has just begun.\u003c/p>\n\u003cp>The cocktail — made with Campari, sweet vermouth, and sparkling wine instead of the traditional gin — has taken over social media, thanks to a \u003ca href=\"https://www.tiktok.com/@hbomax/video/7149523510589754670?_r=1&_t=8WQ7RsdTACM&is_from_webapp=v1&item_id=7149523510589754670\" target=\"_blank\" rel=\"noopener noreferrer\">behind-the-scenes interview\u003c/a> promoting \u003cem>House of the Dragon\u003c/em> on HBO’s TikTok account.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@hbomax/video/7149523510589754670\" data-video-id=\"7149523510589754670\">\n\u003csection>\u003ca title=\"@hbomax\" href=\"https://www.tiktok.com/@hbomax?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@hbomax\u003c/a> I’ll take one of each. \u003ca title=\"houseofthedragon\" href=\"https://www.tiktok.com/tag/houseofthedragon?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#houseofthedragon\u003c/a> \u003ca title=\"♬ a negroni sbagliato w prosecco l hbo max - hbomax\" href=\"https://www.tiktok.com/music/a-negroni-sbagliato-w-prosecco-l-hbo-max-7149523537730997035?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ a negroni sbagliato w prosecco l hbo max – hbomax\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>In the clip, stars Emma D’Arcy and Olivia Cooke — who play the feuding Princess Rhaenyra and Queen Alicent respectively — are asking each other about their drink of choice in real life.\u003c/p>\n\u003cp>D’Arcy, who’s nonbinary, says they prefer a Negroni, before adding “\u003cem>sbagliato\u003c/em>” in their signature breathy voice. The actor then raises their eyebrows, leans in closer, and flirtatiously explains that it means “with prosecco in it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cooke responds with an enthralled “Ooh, stunning.”\u003c/p>\n\u003cp>The interaction immediately went viral, especially among queer fans.\u003c/p>\n\u003cp>https://twitter.com/sckberry/status/1579469179534860294\u003c/p>\n\u003ch3>Bars are getting flooded with orders\u003c/h3>\n\u003cp>More than 15,000 TikTok videos have been posted using the original sound from the D’Arcy and Cooke interview, racking up millions of views.\u003c/p>\n\u003cp>Now, social media is full of people promising to rush to their local bar to order a “Negroni sbagliato with prosecco in it.” Mixologists and lifestyle accounts are \u003ca href=\"https://www.tiktok.com/@join_jules/video/7152252066084228395?_r=1&_t=8WQA8P9FPFi&is_from_webapp=v1&item_id=7152252066084228395\" target=\"_blank\" rel=\"noopener noreferrer\">sharing recipes.\u003c/a>\u003c/p>\n\u003cp>And bartenders are joking about needing to stock up on ingredients before there’s a shortage (which has happened before when other TikTok recipes went viral, with ingredients such as \u003ca href=\"https://www.eater.com/22832651/viral-tiktok-recipes-food-shortages\" target=\"_blank\" rel=\"noopener noreferrer\">Kewpie mayo and feta cheese\u003c/a>).\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@raynemcgowan/video/7152957536277286190\" data-video-id=\"7152957536277286190\">\n\u003csection>\u003ca title=\"@raynemcgowan\" href=\"https://www.tiktok.com/@raynemcgowan?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@raynemcgowan\u003c/a> negroni 🔥 spagliato🔥🔥with prosecco in it 🥵 \u003ca title=\"wlwtiktok\" href=\"https://www.tiktok.com/tag/wlwtiktok?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#wlwtiktok\u003c/a> \u003ca title=\"lesbiansoftiktok\" href=\"https://www.tiktok.com/tag/lesbiansoftiktok?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#lesbiansoftiktok\u003c/a> \u003ca title=\"emmadarcy\" href=\"https://www.tiktok.com/tag/emmadarcy?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#emmadarcy\u003c/a> \u003ca title=\"cubbyholenyc\" href=\"https://www.tiktok.com/tag/cubbyholenyc?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#cubbyholenyc\u003c/a> \u003ca title=\"♬ original sound - Rayne McGowan\" href=\"https://www.tiktok.com/music/original-sound-7152957575422593834?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – Rayne McGowan\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003ch3>But the meme is a bit of a misnomer\u003c/h3>\n\u003cp>While fans will forever know the meme as “Negroni… \u003cem>sbagliato… \u003c/em>with prosecco in it,” that’s not how someone would usually order it.\u003c/p>\n\u003cp>Sbagliato means “mistaken” or “broken” in Italian — a reference to substituting the gin in a traditional Negroni for sparkling wine. So saying “with prosecco” is \u003ca href=\"https://www.tiktok.com/@leah.kilpatrick/video/7152343541237452078?_r=1&_t=8WQA4RFHcEg&is_from_webapp=v1&item_id=7152343541237452078\" target=\"_blank\" rel=\"noopener noreferrer\">redundant\u003c/a>.\u003c/p>\n\u003cp>You can just order it as a sbagliato, experts say. Here’s \u003ca href=\"https://www.youtube.com/watch?v=_R5DKp2dwr0\" target=\"_blank\" rel=\"noopener noreferrer\">an example\u003c/a> of how to pronounce it.\u003c/p>\n\u003cp>https://twitter.com/jillboard/status/1579581191195619328\u003c/p>\n\u003ch3>How to make your own mistake\u003c/h3>\n\u003cp>If you want to give the sbagliato a whirl from the comfort of your own home — perhaps this Sunday while you’re watching \u003cem>House of the Dragon\u003c/em> — here’s what you’ll need.\u003c/p>\n\u003cp>The cocktail itself is simple. You’ll need three ingredients: Campari, sweet vermouth and prosecco. Some recipes suggest an equal 1:1:1 ratio, but you may want to adjust to your personal taste.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>A quick recipe:\u003c/strong>\u003c/p>\n\u003col>\n\u003cli>Add ice to your glass.\u003c/li>\n\u003cli>Pour in 1.5 oz of sweet vermouth.\u003c/li>\n\u003cli>Add 1.5 oz of Campari and stir.\u003c/li>\n\u003cli>Top off your glass with prosecco.\u003c/li>\n\u003cli>Add a slice of orange for garnish, if you’re so inclined.\u003c/li>\n\u003cli>Get in there and make Emma proud.\u003c/li>\n\u003c/ol>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+everyone+is+talking+about+Negroni+sbagliato+%E2%80%94+and+how+to+make+your+own&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"'House of the Dragon' actor Emma D'Arcy said their favorite drink was a Negroni sbagliato. Now fans are ordering it in droves.","status":"publish","parent":0,"modified":1705006278,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":532},"headData":{"title":"Why Everyone is Talking About Negroni Sbagliato — And How to Make Your Own | KQED","description":"'House of the Dragon' actor Emma D'Arcy said their favorite drink was a Negroni sbagliato. Now fans are ordering it in droves.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Why Everyone is Talking About Negroni Sbagliato — And How to Make Your Own","datePublished":"2022-10-12T18:36:20.000Z","dateModified":"2024-01-11T20:51:18.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"/food/","sticky":false,"nprByline":"Dani Nett","nprStoryId":"1128006517","nprApiLink":"http://api.npr.org/query?id=1128006517&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2022/10/11/1128006517/negroni-sbagliato-prosecco-rhaenyra-emma-darcy?ft=nprml&f=1128006517","nprRetrievedStory":"1","nprPubDate":"Tue, 11 Oct 2022 16:12:00 -0400","nprStoryDate":"Tue, 11 Oct 2022 16:12:25 -0400","nprLastModifiedDate":"Tue, 11 Oct 2022 16:12:25 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13920290/why-everyone-is-talking-about-negroni-sbagliato-and-how-to-make-your-own","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Move over, Aperol spritz. The reign of Negroni sbagliato has just begun.\u003c/p>\n\u003cp>The cocktail — made with Campari, sweet vermouth, and sparkling wine instead of the traditional gin — has taken over social media, thanks to a \u003ca href=\"https://www.tiktok.com/@hbomax/video/7149523510589754670?_r=1&_t=8WQ7RsdTACM&is_from_webapp=v1&item_id=7149523510589754670\" target=\"_blank\" rel=\"noopener noreferrer\">behind-the-scenes interview\u003c/a> promoting \u003cem>House of the Dragon\u003c/em> on HBO’s TikTok account.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@hbomax/video/7149523510589754670\" data-video-id=\"7149523510589754670\">\n\u003csection>\u003ca title=\"@hbomax\" href=\"https://www.tiktok.com/@hbomax?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@hbomax\u003c/a> I’ll take one of each. \u003ca title=\"houseofthedragon\" href=\"https://www.tiktok.com/tag/houseofthedragon?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#houseofthedragon\u003c/a> \u003ca title=\"♬ a negroni sbagliato w prosecco l hbo max - hbomax\" href=\"https://www.tiktok.com/music/a-negroni-sbagliato-w-prosecco-l-hbo-max-7149523537730997035?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ a negroni sbagliato w prosecco l hbo max – hbomax\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"tiktok","attributes":{"named":{"label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the clip, stars Emma D’Arcy and Olivia Cooke — who play the feuding Princess Rhaenyra and Queen Alicent respectively — are asking each other about their drink of choice in real life.\u003c/p>\n\u003cp>D’Arcy, who’s nonbinary, says they prefer a Negroni, before adding “\u003cem>sbagliato\u003c/em>” in their signature breathy voice. The actor then raises their eyebrows, leans in closer, and flirtatiously explains that it means “with prosecco in it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cooke responds with an enthralled “Ooh, stunning.”\u003c/p>\n\u003cp>The interaction immediately went viral, especially among queer fans.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1579469179534860294"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003ch3>Bars are getting flooded with orders\u003c/h3>\n\u003cp>More than 15,000 TikTok videos have been posted using the original sound from the D’Arcy and Cooke interview, racking up millions of views.\u003c/p>\n\u003cp>Now, social media is full of people promising to rush to their local bar to order a “Negroni sbagliato with prosecco in it.” Mixologists and lifestyle accounts are \u003ca href=\"https://www.tiktok.com/@join_jules/video/7152252066084228395?_r=1&_t=8WQA8P9FPFi&is_from_webapp=v1&item_id=7152252066084228395\" target=\"_blank\" rel=\"noopener noreferrer\">sharing recipes.\u003c/a>\u003c/p>\n\u003cp>And bartenders are joking about needing to stock up on ingredients before there’s a shortage (which has happened before when other TikTok recipes went viral, with ingredients such as \u003ca href=\"https://www.eater.com/22832651/viral-tiktok-recipes-food-shortages\" target=\"_blank\" rel=\"noopener noreferrer\">Kewpie mayo and feta cheese\u003c/a>).\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@raynemcgowan/video/7152957536277286190\" data-video-id=\"7152957536277286190\">\n\u003csection>\u003ca title=\"@raynemcgowan\" href=\"https://www.tiktok.com/@raynemcgowan?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@raynemcgowan\u003c/a> negroni 🔥 spagliato🔥🔥with prosecco in it 🥵 \u003ca title=\"wlwtiktok\" href=\"https://www.tiktok.com/tag/wlwtiktok?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#wlwtiktok\u003c/a> \u003ca title=\"lesbiansoftiktok\" href=\"https://www.tiktok.com/tag/lesbiansoftiktok?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#lesbiansoftiktok\u003c/a> \u003ca title=\"emmadarcy\" href=\"https://www.tiktok.com/tag/emmadarcy?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#emmadarcy\u003c/a> \u003ca title=\"cubbyholenyc\" href=\"https://www.tiktok.com/tag/cubbyholenyc?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#cubbyholenyc\u003c/a> \u003ca title=\"♬ original sound - Rayne McGowan\" href=\"https://www.tiktok.com/music/original-sound-7152957575422593834?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – Rayne McGowan\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"tiktok","attributes":{"named":{"label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch3>But the meme is a bit of a misnomer\u003c/h3>\n\u003cp>While fans will forever know the meme as “Negroni… \u003cem>sbagliato… \u003c/em>with prosecco in it,” that’s not how someone would usually order it.\u003c/p>\n\u003cp>Sbagliato means “mistaken” or “broken” in Italian — a reference to substituting the gin in a traditional Negroni for sparkling wine. So saying “with prosecco” is \u003ca href=\"https://www.tiktok.com/@leah.kilpatrick/video/7152343541237452078?_r=1&_t=8WQA4RFHcEg&is_from_webapp=v1&item_id=7152343541237452078\" target=\"_blank\" rel=\"noopener noreferrer\">redundant\u003c/a>.\u003c/p>\n\u003cp>You can just order it as a sbagliato, experts say. Here’s \u003ca href=\"https://www.youtube.com/watch?v=_R5DKp2dwr0\" target=\"_blank\" rel=\"noopener noreferrer\">an example\u003c/a> of how to pronounce it.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1579581191195619328"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003ch3>How to make your own mistake\u003c/h3>\n\u003cp>If you want to give the sbagliato a whirl from the comfort of your own home — perhaps this Sunday while you’re watching \u003cem>House of the Dragon\u003c/em> — here’s what you’ll need.\u003c/p>\n\u003cp>The cocktail itself is simple. You’ll need three ingredients: Campari, sweet vermouth and prosecco. Some recipes suggest an equal 1:1:1 ratio, but you may want to adjust to your personal taste.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>A quick recipe:\u003c/strong>\u003c/p>\n\u003col>\n\u003cli>Add ice to your glass.\u003c/li>\n\u003cli>Pour in 1.5 oz of sweet vermouth.\u003c/li>\n\u003cli>Add 1.5 oz of Campari and stir.\u003c/li>\n\u003cli>Top off your glass with prosecco.\u003c/li>\n\u003cli>Add a slice of orange for garnish, if you’re so inclined.\u003c/li>\n\u003cli>Get in there and make Emma proud.\u003c/li>\n\u003c/ol>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+everyone+is+talking+about+Negroni+sbagliato+%E2%80%94+and+how+to+make+your+own&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13920290/why-everyone-is-talking-about-negroni-sbagliato-and-how-to-make-your-own","authors":["byline_arts_13920290"],"categories":["arts_1","arts_12276","arts_75"],"tags":["arts_1297","arts_1945","arts_8350","arts_8017"],"featImg":"arts_13920295","label":"source_arts_13920290"},"arts_13917861":{"type":"posts","id":"arts_13917861","meta":{"index":"posts_1591205157","site":"arts","id":"13917861","score":null,"sort":[1660940255000]},"guestAuthors":[],"slug":"review-house-of-the-dragon-game-of-thrones-spinoff","title":"Should You Watch the 'Game of Thrones' Spinoff?","publishDate":1660940255,"format":"standard","headTitle":"Should You Watch the ‘Game of Thrones’ Spinoff? | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>Whether or not you, dear reader, should choose to dive into HBO’s \u003cem>House of the Dragon \u003c/em>when it debuts Sunday night depends entirely on your attitude toward the series it serves as a prequel to, \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/series/1041961732/game-of-thrones-recaps\" target=\"_blank\" rel=\"noopener noreferrer\">I recapped \u003cem>GoT\u003c/em> for NPR\u003c/a>, which meant I heard from folks who loved it and stuck with it to the end. (I’ll be recapping \u003cem>House of the Dragon\u003c/em> too, starting Sunday).\u003c/p>\n\u003cp>[aside postid='pop_110675']But mostly, and in far greater numbers, I heard from people who seemed inordinately eager to inform me that they \u003cem>weren’t \u003c/em>watching, or had abruptly \u003cem>stopped \u003c/em>watching, or who only kept watching through gritted teeth, seething all the while.\u003c/p>\n\u003cp>They all had their reasons for the positions they took up, and they weren’t as diverse as you might think. That got me thinking: on the eve of \u003cem>House of the Dragon\u003c/em>‘s debut, perhaps I could be of service.\u003c/p>\n\u003cp>So let’s do this: Simply scan the list below for the critique that best approximates your own attitude toward \u003cem>Game of Thrones\u003c/em>, and find out how—or whether—\u003cem>House of the Dragon \u003c/em>responds to it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>1. I loved \u003c/strong>\u003cem>\u003cstrong>Game of Thrones!\u003c/strong>\u003c/em>\u003cstrong> Ate it up with a big ol’ spoon! All the way through! \u003c/strong>\u003c/p>\n\u003cp>What, really? Wow, so \u003cem>you’re \u003c/em>the one. Uh. Okay then, just … go nuts. You’ll eat up \u003cem>House of the Dragon\u003c/em> with that very same spoon. It’s more of what you love. Enjoy!\u003c/p>\n\u003cp>\u003cstrong>2. I tried, I really did, but I just couldn’t keep track of everything. All those names, all those places, all those competing factions. And why were so many of the characters a bunch of beardy, brown-haired, middle-aged white dudes who looked alike? How was that fair?\u003c/strong>\u003c/p>\n\u003cp>First off, \u003cem>House of the Dragon\u003c/em> is set about 200 years before the events of \u003cem>Game of Thrones\u003c/em>, so you don’t need to worry about any of those beardy white dudes; they haven’t been born yet.\u003c/p>\n\u003cp>Think of it this way: \u003cem>House of the Dragon\u003c/em> is the story of a war over succession. It’s the War of the Roses, basically. If you can follow Shakespeare’s history plays, if you can read \u003cem>Wolf Hall\u003c/em>, you can get this. Because where \u003cem>Game of Thrones\u003c/em> depicted an extended jockeying for power among numerous kingdoms and Houses—Starks vs. Lannisters vs. Baratheons vs. Boltons vs. Pykes, etc.—on \u003cem>House of the Dragon\u003c/em>, the main conflict takes place within a single family, so there’s fewer competing factions to keep track of.\u003c/p>\n\u003cfigure id=\"attachment_13917875\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917875\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.37.23-PM-800x531.png\" alt=\"A middle aged man with long white hair wearing robes and a crown.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.37.23-PM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.37.23-PM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.37.23-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.37.23-PM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.37.23-PM.png 1266w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">King Viserys (Paddy Considine) has got plenty of male hair but no male heir on ‘House of the Dragon.’ \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s the good news. The bad news: Swap beardy, brown-haired, middle-aged white dudes for a lot of folk sporting the same flowing platinum wig, because the single family is question is the Targaryens. They’re the ones with that white-blond hair, and the cheekbones. They tend to intermarry, and they have a kinship with dragons.\u003c/p>\n\u003cp>Y’all remember Daenerys Targaryen, from \u003cem>Game of Thrones\u003c/em>. Played by Emilia Clarke, she was the one in the less-than-convincing platinum wig, the Mother of Dragons. She spent most of the series in exile, working to build an army so she could take back the Iron Throne that her father, The Mad King, had lost. She was basically the last Targaryen.\u003c/p>\n\u003cp>\u003cem>House of the Dragon\u003c/em>, conversely, is set back at the height of the Targaryen Dynasty, when the family is still the most powerful force in the world, because they’re \u003cem>lousy \u003c/em>with dragons.\u003c/p>\n\u003cp>\u003cstrong>3. I started watching \u003c/strong>\u003cstrong>\u003cem>Game of Thrones\u003c/em>\u003c/strong>\u003cstrong>, but I couldn’t stomach the violence. Not for me.\u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_13916622']Then \u003cem>House of the Dragon\u003c/em> is also not for you. Life in Westeros is even more nasty, brutish and short than it was in \u003cem>Game of Thrones\u003c/em>, and the gore is just as intense. It doesn’t all come in the same form—it’s not all lopped heads and hacked limbs, though there’s plenty of those. The first episode features a particularly grisly depiction of how dangerous childbirth can be, even in a world of magic.\u003c/p>\n\u003cp>\u003cstrong>4. Despite characters like Arya, Cersei and Sansa, \u003c/strong>\u003cem>\u003cstrong>Game of Thrones\u003c/strong>\u003c/em>\u003cstrong> tended to treat women, especially background characters, as dehumanized objects to be leered at. \u003c/strong>\u003c/p>\n\u003cp>Yeah, the show came in for some fair critiques about that. And while there are still plenty of boobs and butts in \u003cem>House of the Dragon\u003c/em>, especially in brothel scenes, it feels less gratuitous, more equal opportunity. Your mileage may vary, of course.\u003c/p>\n\u003cp>\u003cstrong>5. I liked \u003c/strong>\u003cstrong>\u003cem>Game of Thrones\u003c/em>\u003c/strong>\u003cstrong> when it started out and stuck to palace intrigue and battles between kingdoms. But then it all became about the fantasy stuff—magic and dragons and snow zombies—and it lost me. \u003c/strong>\u003c/p>\n\u003cp>I don’t know what to tell you, my guy, but it’s right there in the name: \u003cem>House of the Dragon\u003c/em>. This is all dragons, all the time, from the jump. So it’s probably not for you.\u003c/p>\n\u003cfigure id=\"attachment_13917876\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917876\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.42.35-PM-800x523.png\" alt=\"Close up on the face of a dragon.\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.42.35-PM-800x523.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.42.35-PM-1020x667.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.42.35-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.42.35-PM-768x502.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.42.35-PM.png 1282w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The latest version of HBO’s George R.R. Martin adaptations features a dragon-drop interface. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>6. Once the series went past the story that had been laid out in George R. R. Martin’s novels, it lost me. Everything suddenly felt rushed and thin and unconvincing, and all the nuance of the books fell away. \u003c/strong>\u003c/p>\n\u003cp>This is, by far, the thing I heard from folks most often. And we don’t need to re-litigate it here, but yeah: The showrunners of \u003cem>Game of Thrones \u003c/em>leaned out over their skis. E.L. Doctorow famously said writing a novel is like driving at night with your headlights on—you can only see a few yards ahead of you, but it’s enough to get you where you need to go. In the last couple of seasons of \u003cem>Game of Thrones\u003c/em>, the showrunners drove with their headlights off.\u003c/p>\n\u003cp>But if you’re worried about that happening with \u003cem>House of the Dragon\u003c/em>, don’t be. The series is based on a 2018 Martin book—\u003cem>Fire & Blood\u003c/em>—with a pre-existing beginning, middle and definitive end. There will be no vamping; we’re looking instead at a relatively straightforward act of adaptation.\u003c/p>\n\u003cp>I say “relatively” because \u003cem>Fire & Blood\u003c/em> is presented not as a simple narrative but as a series of conflicting historical accounts, written in different styles from different points of view.\u003c/p>\n\u003cp>And while that makes for a fun read, television has more exacting demands. Things left deliberately and tantalizingly ambiguous in the book will need to get explicitly dramatized, one way or another. The showrunners are going to have pick a side and run with it.\u003c/p>\n\u003cfigure id=\"attachment_13917864\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917864\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/milly-alcock-paddy-considine_wide-9e0327e2ef37fd0bd6735d8c670c2496435740aa-800x450.jpg\" alt=\"A woman in regal robes stands before a man on an iron throne.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/milly-alcock-paddy-considine_wide-9e0327e2ef37fd0bd6735d8c670c2496435740aa-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/milly-alcock-paddy-considine_wide-9e0327e2ef37fd0bd6735d8c670c2496435740aa-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/milly-alcock-paddy-considine_wide-9e0327e2ef37fd0bd6735d8c670c2496435740aa-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/milly-alcock-paddy-considine_wide-9e0327e2ef37fd0bd6735d8c670c2496435740aa-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/milly-alcock-paddy-considine_wide-9e0327e2ef37fd0bd6735d8c670c2496435740aa-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/milly-alcock-paddy-considine_wide-9e0327e2ef37fd0bd6735d8c670c2496435740aa.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">King Viserys (Paddy Considine) and Princess Rhaenyra (Milly Alcock) have a few points to make in ‘House of the Dragon.’\u003c/figcaption>\u003c/figure>\n\u003cp>In the end, of course, it’s entirely up to you whether you’re up for another visit to the Seven Kingdoms. Your last trip there was rough; I get that.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But just know that the place is under new management, and they certainly seem to want to provide you a more focused, more self-contained, more \u003cem>considered \u003c/em>tourist experience than the old crew did.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Should+you+watch+the+%27Game+of+Thrones%27+spinoff%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"HBO's 'House of the Dragon' drops you into King's Landing 200 years earlier than 'GoT.' Here's everything you need to know.","status":"publish","parent":0,"modified":1705006470,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":28,"wordCount":1270},"headData":{"title":"Should You Watch the 'Game of Thrones' Spinoff? | KQED","description":"HBO's 'House of the Dragon' drops you into King's Landing 200 years earlier than 'GoT.' Here's everything you need to know.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Should You Watch the 'Game of Thrones' Spinoff?","datePublished":"2022-08-19T20:17:35.000Z","dateModified":"2024-01-11T20:54:30.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Glen Weldon","nprImageAgency":"HBO","nprStoryId":"1117594696","nprApiLink":"http://api.npr.org/query?id=1117594696&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2022/08/18/1117594696/should-you-watch-game-of-thrones-spinoff-house-of-dragon?ft=nprml&f=1117594696","nprRetrievedStory":"1","nprPubDate":"Thu, 18 Aug 2022 17:12:00 -0400","nprStoryDate":"Thu, 18 Aug 2022 17:12:50 -0400","nprLastModifiedDate":"Thu, 18 Aug 2022 17:12:50 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13917861/review-house-of-the-dragon-game-of-thrones-spinoff","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Whether or not you, dear reader, should choose to dive into HBO’s \u003cem>House of the Dragon \u003c/em>when it debuts Sunday night depends entirely on your attitude toward the series it serves as a prequel to, \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/series/1041961732/game-of-thrones-recaps\" target=\"_blank\" rel=\"noopener noreferrer\">I recapped \u003cem>GoT\u003c/em> for NPR\u003c/a>, which meant I heard from folks who loved it and stuck with it to the end. (I’ll be recapping \u003cem>House of the Dragon\u003c/em> too, starting Sunday).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_110675","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But mostly, and in far greater numbers, I heard from people who seemed inordinately eager to inform me that they \u003cem>weren’t \u003c/em>watching, or had abruptly \u003cem>stopped \u003c/em>watching, or who only kept watching through gritted teeth, seething all the while.\u003c/p>\n\u003cp>They all had their reasons for the positions they took up, and they weren’t as diverse as you might think. That got me thinking: on the eve of \u003cem>House of the Dragon\u003c/em>‘s debut, perhaps I could be of service.\u003c/p>\n\u003cp>So let’s do this: Simply scan the list below for the critique that best approximates your own attitude toward \u003cem>Game of Thrones\u003c/em>, and find out how—or whether—\u003cem>House of the Dragon \u003c/em>responds to it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>1. I loved \u003c/strong>\u003cem>\u003cstrong>Game of Thrones!\u003c/strong>\u003c/em>\u003cstrong> Ate it up with a big ol’ spoon! All the way through! \u003c/strong>\u003c/p>\n\u003cp>What, really? Wow, so \u003cem>you’re \u003c/em>the one. Uh. Okay then, just … go nuts. You’ll eat up \u003cem>House of the Dragon\u003c/em> with that very same spoon. It’s more of what you love. Enjoy!\u003c/p>\n\u003cp>\u003cstrong>2. I tried, I really did, but I just couldn’t keep track of everything. All those names, all those places, all those competing factions. And why were so many of the characters a bunch of beardy, brown-haired, middle-aged white dudes who looked alike? How was that fair?\u003c/strong>\u003c/p>\n\u003cp>First off, \u003cem>House of the Dragon\u003c/em> is set about 200 years before the events of \u003cem>Game of Thrones\u003c/em>, so you don’t need to worry about any of those beardy white dudes; they haven’t been born yet.\u003c/p>\n\u003cp>Think of it this way: \u003cem>House of the Dragon\u003c/em> is the story of a war over succession. It’s the War of the Roses, basically. If you can follow Shakespeare’s history plays, if you can read \u003cem>Wolf Hall\u003c/em>, you can get this. Because where \u003cem>Game of Thrones\u003c/em> depicted an extended jockeying for power among numerous kingdoms and Houses—Starks vs. Lannisters vs. Baratheons vs. Boltons vs. Pykes, etc.—on \u003cem>House of the Dragon\u003c/em>, the main conflict takes place within a single family, so there’s fewer competing factions to keep track of.\u003c/p>\n\u003cfigure id=\"attachment_13917875\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917875\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.37.23-PM-800x531.png\" alt=\"A middle aged man with long white hair wearing robes and a crown.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.37.23-PM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.37.23-PM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.37.23-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.37.23-PM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.37.23-PM.png 1266w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">King Viserys (Paddy Considine) has got plenty of male hair but no male heir on ‘House of the Dragon.’ \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s the good news. The bad news: Swap beardy, brown-haired, middle-aged white dudes for a lot of folk sporting the same flowing platinum wig, because the single family is question is the Targaryens. They’re the ones with that white-blond hair, and the cheekbones. They tend to intermarry, and they have a kinship with dragons.\u003c/p>\n\u003cp>Y’all remember Daenerys Targaryen, from \u003cem>Game of Thrones\u003c/em>. Played by Emilia Clarke, she was the one in the less-than-convincing platinum wig, the Mother of Dragons. She spent most of the series in exile, working to build an army so she could take back the Iron Throne that her father, The Mad King, had lost. She was basically the last Targaryen.\u003c/p>\n\u003cp>\u003cem>House of the Dragon\u003c/em>, conversely, is set back at the height of the Targaryen Dynasty, when the family is still the most powerful force in the world, because they’re \u003cem>lousy \u003c/em>with dragons.\u003c/p>\n\u003cp>\u003cstrong>3. I started watching \u003c/strong>\u003cstrong>\u003cem>Game of Thrones\u003c/em>\u003c/strong>\u003cstrong>, but I couldn’t stomach the violence. Not for me.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13916622","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Then \u003cem>House of the Dragon\u003c/em> is also not for you. Life in Westeros is even more nasty, brutish and short than it was in \u003cem>Game of Thrones\u003c/em>, and the gore is just as intense. It doesn’t all come in the same form—it’s not all lopped heads and hacked limbs, though there’s plenty of those. The first episode features a particularly grisly depiction of how dangerous childbirth can be, even in a world of magic.\u003c/p>\n\u003cp>\u003cstrong>4. Despite characters like Arya, Cersei and Sansa, \u003c/strong>\u003cem>\u003cstrong>Game of Thrones\u003c/strong>\u003c/em>\u003cstrong> tended to treat women, especially background characters, as dehumanized objects to be leered at. \u003c/strong>\u003c/p>\n\u003cp>Yeah, the show came in for some fair critiques about that. And while there are still plenty of boobs and butts in \u003cem>House of the Dragon\u003c/em>, especially in brothel scenes, it feels less gratuitous, more equal opportunity. Your mileage may vary, of course.\u003c/p>\n\u003cp>\u003cstrong>5. I liked \u003c/strong>\u003cstrong>\u003cem>Game of Thrones\u003c/em>\u003c/strong>\u003cstrong> when it started out and stuck to palace intrigue and battles between kingdoms. But then it all became about the fantasy stuff—magic and dragons and snow zombies—and it lost me. \u003c/strong>\u003c/p>\n\u003cp>I don’t know what to tell you, my guy, but it’s right there in the name: \u003cem>House of the Dragon\u003c/em>. This is all dragons, all the time, from the jump. So it’s probably not for you.\u003c/p>\n\u003cfigure id=\"attachment_13917876\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917876\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.42.35-PM-800x523.png\" alt=\"Close up on the face of a dragon.\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.42.35-PM-800x523.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.42.35-PM-1020x667.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.42.35-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.42.35-PM-768x502.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.42.35-PM.png 1282w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The latest version of HBO’s George R.R. Martin adaptations features a dragon-drop interface. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>6. Once the series went past the story that had been laid out in George R. R. Martin’s novels, it lost me. Everything suddenly felt rushed and thin and unconvincing, and all the nuance of the books fell away. \u003c/strong>\u003c/p>\n\u003cp>This is, by far, the thing I heard from folks most often. And we don’t need to re-litigate it here, but yeah: The showrunners of \u003cem>Game of Thrones \u003c/em>leaned out over their skis. E.L. Doctorow famously said writing a novel is like driving at night with your headlights on—you can only see a few yards ahead of you, but it’s enough to get you where you need to go. In the last couple of seasons of \u003cem>Game of Thrones\u003c/em>, the showrunners drove with their headlights off.\u003c/p>\n\u003cp>But if you’re worried about that happening with \u003cem>House of the Dragon\u003c/em>, don’t be. The series is based on a 2018 Martin book—\u003cem>Fire & Blood\u003c/em>—with a pre-existing beginning, middle and definitive end. There will be no vamping; we’re looking instead at a relatively straightforward act of adaptation.\u003c/p>\n\u003cp>I say “relatively” because \u003cem>Fire & Blood\u003c/em> is presented not as a simple narrative but as a series of conflicting historical accounts, written in different styles from different points of view.\u003c/p>\n\u003cp>And while that makes for a fun read, television has more exacting demands. Things left deliberately and tantalizingly ambiguous in the book will need to get explicitly dramatized, one way or another. The showrunners are going to have pick a side and run with it.\u003c/p>\n\u003cfigure id=\"attachment_13917864\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917864\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/milly-alcock-paddy-considine_wide-9e0327e2ef37fd0bd6735d8c670c2496435740aa-800x450.jpg\" alt=\"A woman in regal robes stands before a man on an iron throne.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/milly-alcock-paddy-considine_wide-9e0327e2ef37fd0bd6735d8c670c2496435740aa-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/milly-alcock-paddy-considine_wide-9e0327e2ef37fd0bd6735d8c670c2496435740aa-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/milly-alcock-paddy-considine_wide-9e0327e2ef37fd0bd6735d8c670c2496435740aa-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/milly-alcock-paddy-considine_wide-9e0327e2ef37fd0bd6735d8c670c2496435740aa-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/milly-alcock-paddy-considine_wide-9e0327e2ef37fd0bd6735d8c670c2496435740aa-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/milly-alcock-paddy-considine_wide-9e0327e2ef37fd0bd6735d8c670c2496435740aa.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">King Viserys (Paddy Considine) and Princess Rhaenyra (Milly Alcock) have a few points to make in ‘House of the Dragon.’\u003c/figcaption>\u003c/figure>\n\u003cp>In the end, of course, it’s entirely up to you whether you’re up for another visit to the Seven Kingdoms. Your last trip there was rough; I get that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But just know that the place is under new management, and they certainly seem to want to provide you a more focused, more self-contained, more \u003cem>considered \u003c/em>tourist experience than the old crew did.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Should+you+watch+the+%27Game+of+Thrones%27+spinoff%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13917861/review-house-of-the-dragon-game-of-thrones-spinoff","authors":["byline_arts_13917861"],"categories":["arts_1","arts_990"],"tags":["arts_1945","arts_8350"],"affiliates":["arts_137"],"featImg":"arts_13917862","label":"arts_137"},"arts_13909712":{"type":"posts","id":"arts_13909712","meta":{"index":"posts_1591205157","site":"arts","id":"13909712","score":null,"sort":[1645665802000]},"guestAuthors":[],"slug":"elden-ring-how-i-learned-to-stop-worrying-and-love-its-deathly-delights","title":"'Elden Ring': How I Learned to Stop Worrying and Love its Deathly Delights","publishDate":1645665802,"format":"standard","headTitle":"‘Elden Ring’: How I Learned to Stop Worrying and Love its Deathly Delights | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>Looking back, I don’t know why I agreed to do this, why I submitted myself to video game masochism. I don’t know why I thought my first experience with a FromSoftware game would be like every other video game review: 30 hours gone, game finished, review written, thank you and goodnight.\u003c/p>\n\u003cp>And yet—30 hours into \u003cem>Elden Ring\u003c/em>, I’ve barely made a dent. I didn’t realize until now that I could have so much fun making myself so miserable.\u003c/p>\n\u003ch3>Beauty and brutality\u003c/h3>\n\u003cp>\u003cem>Elden Ring \u003c/em>is forbidding, majestic, and sick in every sense of the word. Its overarching story about a fallen kingdom is deliberately obtuse—an unspecified amount was written by \u003cem>Game of Thrones \u003c/em>author George R. R. Martin, the rest by \u003cem>Dark Souls \u003c/em>mastermind Hidetaka Miyazaki. Its setting, the Lands Between, is filled with countless little delights, like the roaming sheep that roll away armadillo style when you get too close. But they’re also home to countless nightmares, like giant dragonflies that harass you while you’re menaced by roving bands of desiccated peasants, towering knights, or flame-breathing dragons. These vast landscapes largely replace the dense, layered levels that \u003cem>Dark Souls \u003c/em>was famous for. In \u003cem>Elden Ring\u003c/em>, though, the opportunity to survey diverse terrain—whether a noxious swampland or gusty prairie—produces an injection of gaming dopamine (and some genuine fear, too).\u003c/p>\n\u003cfigure id=\"attachment_13909714\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909714\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/eldenring_04_4k-15314260c26daa6b8358.17245322_wide-dcd6173b9ce241ff72a77dcadccca4f21b2b297d-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Our hero squares off against a roving mounted adversary. \u003ccite>(FromSoftware)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s made all the better by your trusty steed, Torrent—a beautiful creature resembling an elk. Whistle and he’ll materialize beneath you, ready to ride. While he’s inaccessible in the game’s many dungeons, Torrent also gives you an offensive edge, as you can cut down hordes from atop the saddle better than you could on foot. His best feature, however, is his double-jump. Yes, that’s right—\u003cem>Breath of the Wild \u003c/em>horses have nothing on him! Use Torrent to hop up cliffs or leap down ravines to mitigate fall damage that would normally kill you. But take care; while Torrent can make you feel invincible, great heights or particularly surly adversaries can still defeat you.\u003c/p>\n\u003cp>Yet despite these innovations in world design and traversal, FromSoftware remains true to their traditional boss formula, often throwing you—a comparatively puny warrior—into a dimly-lit colosseum to brawl with some gruesomely powerful cretin. But when this gruesomely powerful cretin’s health bar is \u003cem>finally\u003c/em> sliced down to zero, after quite literally 43 tries (yes, I counted for the first boss), that’s when the celebration ensues. It looks like this: a 24-year-old with sweaty palms and a sprinting heart rate jumps off his couch and screams, “F*** YES! FINALLY!” and hurriedly texts his roommate the news.\u003c/p>\n\u003cfigure id=\"attachment_13909715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909715\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/eldenring_12_4k-15314260c26db292d294.19097828_wide-161dfc66bc811e88068d50172fabcdd854b56778-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/eldenring_12_4k-15314260c26db292d294.19097828_wide-161dfc66bc811e88068d50172fabcdd854b56778-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/eldenring_12_4k-15314260c26db292d294.19097828_wide-161dfc66bc811e88068d50172fabcdd854b56778-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/eldenring_12_4k-15314260c26db292d294.19097828_wide-161dfc66bc811e88068d50172fabcdd854b56778-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/eldenring_12_4k-15314260c26db292d294.19097828_wide-161dfc66bc811e88068d50172fabcdd854b56778-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/eldenring_12_4k-15314260c26db292d294.19097828_wide-161dfc66bc811e88068d50172fabcdd854b56778-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/eldenring_12_4k-15314260c26db292d294.19097828_wide-161dfc66bc811e88068d50172fabcdd854b56778-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/eldenring_12_4k-15314260c26db292d294.19097828_wide-161dfc66bc811e88068d50172fabcdd854b56778-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An early boss, Godrick the Grafted. \u003ccite>(FromSoftware)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A sparse, grim world\u003c/h3>\n\u003cp>\u003cem>Elden Ring’s \u003c/em>aesthetic also deserves recognition, even if it doesn’t match the glamor or realism of rival open world games. Instead, it goes out of its way to make you feel small. The Erdtree—gargantuan and golden—looms over the entire map, its flaxen, ethereal leaves falling slowly to the deathly ground beneath it. It’s a shining beacon in an otherwise dark, medieval world, seemingly always out of reach. While the terrain can be sparse, replete with interchangeable ruins, I find myself often retreating from the endless onslaught to take a screenshot of my surroundings. Stormveil Castle’s busted turrets or the murky waters of Liurnia of the Lakes provide a mystifying backdrop while you’re slowly poisoned, bloodied or ripped to shreds.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='pop_98083']It’s during these moments of pain and suffering, however, where \u003cem>Elden Ring \u003c/em>paradoxically shines brightest. In other titles, death can feel cheap. Nintendo games, for instance, aren’t \u003cem>that\u003c/em> challenging, so combat can feel arbitrary; after internalizing an enemy’s simple attack pattern, most experienced gamers will win after a few tries.\u003c/p>\n\u003cp>\u003cem>Elden Ring\u003c/em>, by contrast, refuses to hold your hand. An enemy takes three massive swings, and before you can evade, a final anticipatory strike takes out the rest of your precious health bar. The game constantly backs you into a corner, forcing you to make snap decisions. You’ll dodge prematurely into an opponent’s ax. You’ll lunge only to misjudge the distance and end up exposed. In a desperate retreat, you’ll find yourself impaled on an unseen enemy’s blade. But practice does eventually make perfect. Besting a boss is a wave of pure relief and satisfaction unlike any I’ve felt in other video games.\u003c/p>\n\u003cfigure id=\"attachment_13909716\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909716\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/keller-screenshot_wide-0f7968999cf0ea570071978d9925b02582b31171-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/keller-screenshot_wide-0f7968999cf0ea570071978d9925b02582b31171-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/keller-screenshot_wide-0f7968999cf0ea570071978d9925b02582b31171-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/keller-screenshot_wide-0f7968999cf0ea570071978d9925b02582b31171-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/keller-screenshot_wide-0f7968999cf0ea570071978d9925b02582b31171-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/keller-screenshot_wide-0f7968999cf0ea570071978d9925b02582b31171-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/keller-screenshot_wide-0f7968999cf0ea570071978d9925b02582b31171-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/keller-screenshot_wide-0f7968999cf0ea570071978d9925b02582b31171-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Surveying the Lands Between. \u003ccite>(FromSoftware)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A little help from friends\u003c/h3>\n\u003cp>Thankfully, you’re not alone in the fight. \u003cem>Elden Ring\u003c/em> follows prior \u003cem>Souls \u003c/em>games in allowing you to summon other characters or players to help. But it also innovates with a system not unlike \u003cem>Pokemon.\u003c/em> You can collect Spirit Ashes of enemies, allowing you to occasionally beckon versions of them as allies. Even if the ghostly dogs, skeletons, or jellyfish aren’t great for dishing damage, they distract foes for long enough to help even the odds.\u003c/p>\n\u003cp>[aside postid='arts_13654506']What surprised me most about \u003cem>Elden Ring\u003c/em>, though, is how much I genuinely laughed out loud while playing. It’s astonishingly hard, but rather than mutter and groan, I was reassured to know that other players will experience the exact same trials and tribulations. At a time where lots of people, including myself, are anxious, I wasn’t sure I’d want to play something so punishing. It’s easy to pick up my staple games for Nintendo Switch and shut off my brain. But after realizing how exciting it was to conquer my fears, explore the Lands Between, and die over and over, \u003cem>Elden Ring \u003c/em>became a joy, especially as my roommate watched on and laughed at my inevitable destruction.\u003c/p>\n\u003cp>\u003cem>Keller Gordon is a columnist for Join The Game. Find him on Twitter: \u003ca href=\"https://twitter.com/kelbot_\" target=\"_blank\" rel=\"noopener noreferrer\">@kelbot_\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>James Perkins Mastromarino contributed to this review.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Review%3A+How+I+learned+to+stop+worrying+and+love+the+deathly+delights+of+%27Elden+Ring%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"A game developer known for difficulty collaborated with 'Game of Thrones' author George R. R. Martin for its latest title. ","status":"publish","parent":0,"modified":1705007159,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":1049},"headData":{"title":"'Elden Ring': How I Learned to Stop Worrying and Love its Deathly Delights | KQED","description":"A game developer known for difficulty collaborated with 'Game of Thrones' author George R. R. Martin for its latest title. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'Elden Ring': How I Learned to Stop Worrying and Love its Deathly Delights","datePublished":"2022-02-24T01:23:22.000Z","dateModified":"2024-01-11T21:05:59.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Keller Gordon","nprImageAgency":"FromSoftware","nprStoryId":"1082603088","nprApiLink":"http://api.npr.org/query?id=1082603088&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2022/02/23/1082603088/elden-ring-review?ft=nprml&f=1082603088","nprRetrievedStory":"1","nprPubDate":"Wed, 23 Feb 2022 17:00:00 -0500","nprStoryDate":"Wed, 23 Feb 2022 17:00:48 -0500","nprLastModifiedDate":"Wed, 23 Feb 2022 17:00:48 -0500","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13909712/elden-ring-how-i-learned-to-stop-worrying-and-love-its-deathly-delights","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking back, I don’t know why I agreed to do this, why I submitted myself to video game masochism. I don’t know why I thought my first experience with a FromSoftware game would be like every other video game review: 30 hours gone, game finished, review written, thank you and goodnight.\u003c/p>\n\u003cp>And yet—30 hours into \u003cem>Elden Ring\u003c/em>, I’ve barely made a dent. I didn’t realize until now that I could have so much fun making myself so miserable.\u003c/p>\n\u003ch3>Beauty and brutality\u003c/h3>\n\u003cp>\u003cem>Elden Ring \u003c/em>is forbidding, majestic, and sick in every sense of the word. Its overarching story about a fallen kingdom is deliberately obtuse—an unspecified amount was written by \u003cem>Game of Thrones \u003c/em>author George R. R. Martin, the rest by \u003cem>Dark Souls \u003c/em>mastermind Hidetaka Miyazaki. Its setting, the Lands Between, is filled with countless little delights, like the roaming sheep that roll away armadillo style when you get too close. But they’re also home to countless nightmares, like giant dragonflies that harass you while you’re menaced by roving bands of desiccated peasants, towering knights, or flame-breathing dragons. These vast landscapes largely replace the dense, layered levels that \u003cem>Dark Souls \u003c/em>was famous for. In \u003cem>Elden Ring\u003c/em>, though, the opportunity to survey diverse terrain—whether a noxious swampland or gusty prairie—produces an injection of gaming dopamine (and some genuine fear, too).\u003c/p>\n\u003cfigure id=\"attachment_13909714\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909714\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/eldenring_04_4k-15314260c26daa6b8358.17245322_wide-dcd6173b9ce241ff72a77dcadccca4f21b2b297d-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Our hero squares off against a roving mounted adversary. \u003ccite>(FromSoftware)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s made all the better by your trusty steed, Torrent—a beautiful creature resembling an elk. Whistle and he’ll materialize beneath you, ready to ride. While he’s inaccessible in the game’s many dungeons, Torrent also gives you an offensive edge, as you can cut down hordes from atop the saddle better than you could on foot. His best feature, however, is his double-jump. Yes, that’s right—\u003cem>Breath of the Wild \u003c/em>horses have nothing on him! Use Torrent to hop up cliffs or leap down ravines to mitigate fall damage that would normally kill you. But take care; while Torrent can make you feel invincible, great heights or particularly surly adversaries can still defeat you.\u003c/p>\n\u003cp>Yet despite these innovations in world design and traversal, FromSoftware remains true to their traditional boss formula, often throwing you—a comparatively puny warrior—into a dimly-lit colosseum to brawl with some gruesomely powerful cretin. But when this gruesomely powerful cretin’s health bar is \u003cem>finally\u003c/em> sliced down to zero, after quite literally 43 tries (yes, I counted for the first boss), that’s when the celebration ensues. It looks like this: a 24-year-old with sweaty palms and a sprinting heart rate jumps off his couch and screams, “F*** YES! FINALLY!” and hurriedly texts his roommate the news.\u003c/p>\n\u003cfigure id=\"attachment_13909715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909715\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/eldenring_12_4k-15314260c26db292d294.19097828_wide-161dfc66bc811e88068d50172fabcdd854b56778-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/eldenring_12_4k-15314260c26db292d294.19097828_wide-161dfc66bc811e88068d50172fabcdd854b56778-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/eldenring_12_4k-15314260c26db292d294.19097828_wide-161dfc66bc811e88068d50172fabcdd854b56778-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/eldenring_12_4k-15314260c26db292d294.19097828_wide-161dfc66bc811e88068d50172fabcdd854b56778-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/eldenring_12_4k-15314260c26db292d294.19097828_wide-161dfc66bc811e88068d50172fabcdd854b56778-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/eldenring_12_4k-15314260c26db292d294.19097828_wide-161dfc66bc811e88068d50172fabcdd854b56778-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/eldenring_12_4k-15314260c26db292d294.19097828_wide-161dfc66bc811e88068d50172fabcdd854b56778-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/eldenring_12_4k-15314260c26db292d294.19097828_wide-161dfc66bc811e88068d50172fabcdd854b56778-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An early boss, Godrick the Grafted. \u003ccite>(FromSoftware)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A sparse, grim world\u003c/h3>\n\u003cp>\u003cem>Elden Ring’s \u003c/em>aesthetic also deserves recognition, even if it doesn’t match the glamor or realism of rival open world games. Instead, it goes out of its way to make you feel small. The Erdtree—gargantuan and golden—looms over the entire map, its flaxen, ethereal leaves falling slowly to the deathly ground beneath it. It’s a shining beacon in an otherwise dark, medieval world, seemingly always out of reach. While the terrain can be sparse, replete with interchangeable ruins, I find myself often retreating from the endless onslaught to take a screenshot of my surroundings. Stormveil Castle’s busted turrets or the murky waters of Liurnia of the Lakes provide a mystifying backdrop while you’re slowly poisoned, bloodied or ripped to shreds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_98083","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>It’s during these moments of pain and suffering, however, where \u003cem>Elden Ring \u003c/em>paradoxically shines brightest. In other titles, death can feel cheap. Nintendo games, for instance, aren’t \u003cem>that\u003c/em> challenging, so combat can feel arbitrary; after internalizing an enemy’s simple attack pattern, most experienced gamers will win after a few tries.\u003c/p>\n\u003cp>\u003cem>Elden Ring\u003c/em>, by contrast, refuses to hold your hand. An enemy takes three massive swings, and before you can evade, a final anticipatory strike takes out the rest of your precious health bar. The game constantly backs you into a corner, forcing you to make snap decisions. You’ll dodge prematurely into an opponent’s ax. You’ll lunge only to misjudge the distance and end up exposed. In a desperate retreat, you’ll find yourself impaled on an unseen enemy’s blade. But practice does eventually make perfect. Besting a boss is a wave of pure relief and satisfaction unlike any I’ve felt in other video games.\u003c/p>\n\u003cfigure id=\"attachment_13909716\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909716\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/keller-screenshot_wide-0f7968999cf0ea570071978d9925b02582b31171-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/keller-screenshot_wide-0f7968999cf0ea570071978d9925b02582b31171-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/keller-screenshot_wide-0f7968999cf0ea570071978d9925b02582b31171-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/keller-screenshot_wide-0f7968999cf0ea570071978d9925b02582b31171-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/keller-screenshot_wide-0f7968999cf0ea570071978d9925b02582b31171-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/keller-screenshot_wide-0f7968999cf0ea570071978d9925b02582b31171-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/keller-screenshot_wide-0f7968999cf0ea570071978d9925b02582b31171-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/keller-screenshot_wide-0f7968999cf0ea570071978d9925b02582b31171-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Surveying the Lands Between. \u003ccite>(FromSoftware)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A little help from friends\u003c/h3>\n\u003cp>Thankfully, you’re not alone in the fight. \u003cem>Elden Ring\u003c/em> follows prior \u003cem>Souls \u003c/em>games in allowing you to summon other characters or players to help. But it also innovates with a system not unlike \u003cem>Pokemon.\u003c/em> You can collect Spirit Ashes of enemies, allowing you to occasionally beckon versions of them as allies. Even if the ghostly dogs, skeletons, or jellyfish aren’t great for dishing damage, they distract foes for long enough to help even the odds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13654506","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>What surprised me most about \u003cem>Elden Ring\u003c/em>, though, is how much I genuinely laughed out loud while playing. It’s astonishingly hard, but rather than mutter and groan, I was reassured to know that other players will experience the exact same trials and tribulations. At a time where lots of people, including myself, are anxious, I wasn’t sure I’d want to play something so punishing. It’s easy to pick up my staple games for Nintendo Switch and shut off my brain. But after realizing how exciting it was to conquer my fears, explore the Lands Between, and die over and over, \u003cem>Elden Ring \u003c/em>became a joy, especially as my roommate watched on and laughed at my inevitable destruction.\u003c/p>\n\u003cp>\u003cem>Keller Gordon is a columnist for Join The Game. Find him on Twitter: \u003ca href=\"https://twitter.com/kelbot_\" target=\"_blank\" rel=\"noopener noreferrer\">@kelbot_\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>James Perkins Mastromarino contributed to this review.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Review%3A+How+I+learned+to+stop+worrying+and+love+the+deathly+delights+of+%27Elden+Ring%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13909712/elden-ring-how-i-learned-to-stop-worrying-and-love-its-deathly-delights","authors":["byline_arts_13909712"],"categories":["arts_1","arts_75"],"tags":["arts_1945","arts_5132","arts_4149"],"affiliates":["arts_137"],"featImg":"arts_13909713","label":"arts_137"},"arts_13894806":{"type":"posts","id":"arts_13894806","meta":{"index":"posts_1591205157","site":"arts","id":"13894806","score":null,"sort":[1617047982000]},"guestAuthors":[],"slug":"george-r-r-martin-signs-new-five-year-deal-with-hbo-and-hbo-max","title":"George R.R. Martin Signs New Five Year Deal With HBO and HBO Max","publishDate":1617047982,"format":"standard","headTitle":"George R.R. Martin Signs New Five Year Deal With HBO and HBO Max | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>George R.R. Martin has entered into a five year deal with HBO to develop content for both HBO and HBO Max, the network said in a statement on Monday.\u003c/p>\n\u003cp>The best-selling fantasy author and four-time Emmy award winner, best known for his book series \u003cem>A Song of Ice and Fire \u003c/em>and its television adaptation \u003cem>Game of Thrones\u003c/em>, is attached to multiple projects in the pipeline for the media company and streaming service. [aside postid='arts_13654506']\u003c/p>\n\u003cp>The \u003cem>Game of Thrones \u003c/em>television series followed powerful families aiming for the iron throne in the continent of Westeros. It ran for eight years on HBO, with the final season wrapping in 2019.\u003c/p>\n\u003cp>Martin has a new drama series in the works, \u003cem>House of the Dragon\u003c/em>, which is based on his \u003cem>Fire & Blood \u003c/em>book. The \u003cem>Game of Thrones\u003c/em> prequel follows House Targaryen and is set 300 years before the events of \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003cp>The show has been given a ten episode order. Paddy Considine, Olivia Cooke, Matt Smith, and Emma D’Arcy have joined the series, with additional cast members to be announced.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show is co-created by Martin and Ryan Condal, whose prior work includes \u003cem>Colony, Rampage, \u003c/em>and \u003cem>Hercules.\u003c/em> Condal and Miguel Sapochnik (\u003cem>Game of Thrones, Altered Carbon\u003c/em>) serve as showrunners and producers with Martin and Vince Gerardis (\u003cem>Game of Thrones\u003c/em>).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Martin is also set to executive produce HBO’s \u003cem>Who Fears Death, \u003c/em>a fantasy post-apocalyptic series with Tessa Thompson attached to star, and adapted from the novel by Nnedi Okorafor; and \u003cem>Roadmarks, \u003c/em>an adaptation of the sci-fi novel from Roger Zelazny.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=George+R.R.+Martin+Signs+New+Five+Year+Deal+With+HBO+And+HBO+Max&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"The best-selling fantasy author is attached to multiple projects in the pipeline for the media company and streaming service. ","status":"publish","parent":0,"modified":1705019259,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":278},"headData":{"title":"George R.R. Martin Signs New Five Year Deal With HBO and HBO Max | KQED","description":"The best-selling fantasy author is attached to multiple projects in the pipeline for the media company and streaming service. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"George R.R. Martin Signs New Five Year Deal With HBO and HBO Max","datePublished":"2021-03-29T19:59:42.000Z","dateModified":"2024-01-12T00:27:39.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Amy Sussman","nprByline":"Jeannette Muhammad","nprImageAgency":"Getty Images","nprStoryId":"982364793","nprApiLink":"http://api.npr.org/query?id=982364793&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2021/03/29/982364793/george-r-r-martin-signs-new-five-year-deal-with-hbo-and-hbo-max?ft=nprml&f=982364793","nprRetrievedStory":"1","nprPubDate":"Mon, 29 Mar 2021 14:53:00 -0400","nprStoryDate":"Mon, 29 Mar 2021 14:53:21 -0400","nprLastModifiedDate":"Mon, 29 Mar 2021 14:53:36 -0400","templateType":"standard","featuredImageType":"standard","path":"/arts/13894806/george-r-r-martin-signs-new-five-year-deal-with-hbo-and-hbo-max","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>George R.R. Martin has entered into a five year deal with HBO to develop content for both HBO and HBO Max, the network said in a statement on Monday.\u003c/p>\n\u003cp>The best-selling fantasy author and four-time Emmy award winner, best known for his book series \u003cem>A Song of Ice and Fire \u003c/em>and its television adaptation \u003cem>Game of Thrones\u003c/em>, is attached to multiple projects in the pipeline for the media company and streaming service. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13654506","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003cem>Game of Thrones \u003c/em>television series followed powerful families aiming for the iron throne in the continent of Westeros. It ran for eight years on HBO, with the final season wrapping in 2019.\u003c/p>\n\u003cp>Martin has a new drama series in the works, \u003cem>House of the Dragon\u003c/em>, which is based on his \u003cem>Fire & Blood \u003c/em>book. The \u003cem>Game of Thrones\u003c/em> prequel follows House Targaryen and is set 300 years before the events of \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003cp>The show has been given a ten episode order. Paddy Considine, Olivia Cooke, Matt Smith, and Emma D’Arcy have joined the series, with additional cast members to be announced.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show is co-created by Martin and Ryan Condal, whose prior work includes \u003cem>Colony, Rampage, \u003c/em>and \u003cem>Hercules.\u003c/em> Condal and Miguel Sapochnik (\u003cem>Game of Thrones, Altered Carbon\u003c/em>) serve as showrunners and producers with Martin and Vince Gerardis (\u003cem>Game of Thrones\u003c/em>).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Martin is also set to executive produce HBO’s \u003cem>Who Fears Death, \u003c/em>a fantasy post-apocalyptic series with Tessa Thompson attached to star, and adapted from the novel by Nnedi Okorafor; and \u003cem>Roadmarks, \u003c/em>an adaptation of the sci-fi novel from Roger Zelazny.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=George+R.R.+Martin+Signs+New+Five+Year+Deal+With+HBO+And+HBO+Max&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13894806/george-r-r-martin-signs-new-five-year-deal-with-hbo-and-hbo-max","authors":["byline_arts_13894806"],"categories":["arts_1","arts_75","arts_990"],"tags":["arts_1945","arts_8350"],"affiliates":["arts_137"],"featImg":"arts_13894807","label":"arts_137"},"arts_13886118":{"type":"posts","id":"arts_13886118","meta":{"index":"posts_1591205157","site":"arts","id":"13886118","score":null,"sort":[1599764147000]},"guestAuthors":[],"slug":"avengers-and-game-of-thrones-star-diana-rigg-dies-at-82","title":"‘Avengers’ and ‘Game of Thrones’ Star Diana Rigg Dies at 82","publishDate":1599764147,"format":"standard","headTitle":"‘Avengers’ and ‘Game of Thrones’ Star Diana Rigg Dies at 82 | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Diana Rigg, a commanding British actress whose career stretched from iconic 1960s spy series \u003cem>The Avengers\u003c/em> to fantasy juggernaut \u003cem>Game of Thrones\u003c/em>, has died. She was 82.\u003c/p>\n\u003cp>Rigg’s agent, Simon Beresford, said she died Thursday morning at home with her family. Daughter Rachael Stirling said she died of cancer that was diagnosed in March.\u003c/p>\n\u003cp>Rigg “spent her last months joyfully reflecting on her extraordinary life, full of love, laughter and a deep pride in her profession. I will miss her beyond words,” Stirling said.\u003c/p>\n\u003cp>Rigg starred in \u003cem>The Avengers\u003c/em> as secret agent Emma Peel alongside Patrick McNee’s bowler-hatted John Steed. The pair were an impeccably dressed duo who fought villains and traded quips in a show whose mix of adventure and humor was enduringly influential.\u003c/p>\n\u003cfigure id=\"attachment_13886129\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886129\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-11.58.07-AM.png\" alt=\"Diana Rigg starred as Emma Peel in 'The Avengers' between 1961 and 1969.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-11.58.07-AM.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-11.58.07-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-11.58.07-AM-768x511.png 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diana Rigg starred as Emma Peel in ‘The Avengers’ between 1961 and 1969.\u003c/figcaption>\u003c/figure>\n\u003cp>Rigg also starred in 1969 James Bond thriller \u003cem>On Her Majesty’s Secret Service\u003c/em> as Tracy di Vicenzo, the only woman ever to marry, albeit briefly, Agent 007. Bond producers Michael G Wilson and Barbara Broccoli said Rigg was “much beloved by Bond fans for her memorable performance.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>George Lazenby, who made his only appearance as Bond in the film, said on Instagram that he was “so sad to hear of the death of Diana Rigg. She undoubtedly raised my acting game when we made \u003cem>On Her Majesty’s Secret Service\u003c/em> together in 1968-9.”\u003c/p>\n\u003cp>In later life, she played Olenna Tyrell—the formidable “Queen of Thorns”—in \u003cem>Game of Thrones\u003c/em>, receiving an Emmy Award nomination for the role.\u003c/p>\n\u003cfigure id=\"attachment_13886131\" class=\"wp-caption aligncenter\" style=\"max-width: 694px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886131\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-12.00.03-PM.png\" alt=\"Diana Rigg as Olenna Tyrell in 'Game of Thrones.'\" width=\"694\" height=\"408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-12.00.03-PM.png 694w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-12.00.03-PM-160x94.png 160w\" sizes=\"(max-width: 694px) 100vw, 694px\">\u003cfigcaption class=\"wp-caption-text\">Diana Rigg as Olenna Tyrell in ‘Game of Thrones.’ \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other television roles included the Duchess of Buccleuch in period drama \u003cem>Victoria\u003c/em>, and Rigg starred alongside her daughter in the gentle British sitcom \u003cem>Detectorists\u003c/em>.\u003c/p>\n\u003cp>Rigg spent several years in the 1960s as a member of the Royal Shakespeare Company, and combined screen work with a major stage career, in plays including William Shakespeare’s \u003cem>Macbeth\u003c/em>, Bertolt Brecht’s \u003cem>Mother Courage\u003c/em> and Tom Stoppard’s \u003cem>Jumpers\u003c/em> at the National Theatre in London.\u003c/p>\n\u003cp>She had several acclaimed roles in the 1990s at London’s Almeida Theatre, including Martha in \u003cem>Who’s Afraid of Virginia Woolf?\u003c/em> and the title role in Greek tragedy \u003cem>Medea\u003c/em>.\u003c/p>\n\u003cp>Rigg won a Tony Award for \u003cem>Medea\u003c/em> on Broadway, and was nominated on three other occasions—most recently in 2018 for playing Mrs. Higgins in \u003cem>My Fair Lady\u003c/em>.\u003c/p>\n\u003cp>Jonathan Kent, who directed Rigg in some of her great stage roles, said her “combination of force of personality, beauty, courage and sheer emotional power made her a great classical actress—one of an astonishing generation of British stage performers.”\u003c/p>\n\u003cp>She never retired. One of Rigg’s final television roles was in rural veterinary drama \u003cem>All Creatures Great and Small\u003c/em>, which is currently running on British television.\u003c/p>\n\u003cp>Stoppard said Rigg was “the most beautiful woman in the room, but she was what used to be called a Trouper.”\u003c/p>\n\u003cp>“She went to work with her sleeves rolled up and a smile for everyone. Her talent was luminous.”\u003c/p>\n\u003cp>Rigg is survived by her daughter, son-in-law Guy Garvey—lead singer of the band Elbow—and a grandson.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2020 The Associated Press.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":null,"status":"publish","parent":0,"modified":1705020157,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":566},"headData":{"title":"‘Avengers’ and ‘Game of Thrones’ Star Diana Rigg Dies at 82 | KQED","description":"Diana Rigg, a commanding British actress whose career stretched from iconic 1960s spy series The Avengers to fantasy juggernaut Game of Thrones, has died. She was 82. Rigg’s agent, Simon Beresford, said she died Thursday morning at home with her family. Daughter Rachael Stirling said she died of cancer that was diagnosed in March. Rigg","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Avengers’ and ‘Game of Thrones’ Star Diana Rigg Dies at 82","datePublished":"2020-09-10T18:55:47.000Z","dateModified":"2024-01-12T00:42:37.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Jill Lawless","templateType":"standard","featuredImageType":"standard","path":"/arts/13886118/avengers-and-game-of-thrones-star-diana-rigg-dies-at-82","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Diana Rigg, a commanding British actress whose career stretched from iconic 1960s spy series \u003cem>The Avengers\u003c/em> to fantasy juggernaut \u003cem>Game of Thrones\u003c/em>, has died. She was 82.\u003c/p>\n\u003cp>Rigg’s agent, Simon Beresford, said she died Thursday morning at home with her family. Daughter Rachael Stirling said she died of cancer that was diagnosed in March.\u003c/p>\n\u003cp>Rigg “spent her last months joyfully reflecting on her extraordinary life, full of love, laughter and a deep pride in her profession. I will miss her beyond words,” Stirling said.\u003c/p>\n\u003cp>Rigg starred in \u003cem>The Avengers\u003c/em> as secret agent Emma Peel alongside Patrick McNee’s bowler-hatted John Steed. The pair were an impeccably dressed duo who fought villains and traded quips in a show whose mix of adventure and humor was enduringly influential.\u003c/p>\n\u003cfigure id=\"attachment_13886129\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886129\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-11.58.07-AM.png\" alt=\"Diana Rigg starred as Emma Peel in 'The Avengers' between 1961 and 1969.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-11.58.07-AM.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-11.58.07-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-11.58.07-AM-768x511.png 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diana Rigg starred as Emma Peel in ‘The Avengers’ between 1961 and 1969.\u003c/figcaption>\u003c/figure>\n\u003cp>Rigg also starred in 1969 James Bond thriller \u003cem>On Her Majesty’s Secret Service\u003c/em> as Tracy di Vicenzo, the only woman ever to marry, albeit briefly, Agent 007. Bond producers Michael G Wilson and Barbara Broccoli said Rigg was “much beloved by Bond fans for her memorable performance.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>George Lazenby, who made his only appearance as Bond in the film, said on Instagram that he was “so sad to hear of the death of Diana Rigg. She undoubtedly raised my acting game when we made \u003cem>On Her Majesty’s Secret Service\u003c/em> together in 1968-9.”\u003c/p>\n\u003cp>In later life, she played Olenna Tyrell—the formidable “Queen of Thorns”—in \u003cem>Game of Thrones\u003c/em>, receiving an Emmy Award nomination for the role.\u003c/p>\n\u003cfigure id=\"attachment_13886131\" class=\"wp-caption aligncenter\" style=\"max-width: 694px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886131\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-12.00.03-PM.png\" alt=\"Diana Rigg as Olenna Tyrell in 'Game of Thrones.'\" width=\"694\" height=\"408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-12.00.03-PM.png 694w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-12.00.03-PM-160x94.png 160w\" sizes=\"(max-width: 694px) 100vw, 694px\">\u003cfigcaption class=\"wp-caption-text\">Diana Rigg as Olenna Tyrell in ‘Game of Thrones.’ \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other television roles included the Duchess of Buccleuch in period drama \u003cem>Victoria\u003c/em>, and Rigg starred alongside her daughter in the gentle British sitcom \u003cem>Detectorists\u003c/em>.\u003c/p>\n\u003cp>Rigg spent several years in the 1960s as a member of the Royal Shakespeare Company, and combined screen work with a major stage career, in plays including William Shakespeare’s \u003cem>Macbeth\u003c/em>, Bertolt Brecht’s \u003cem>Mother Courage\u003c/em> and Tom Stoppard’s \u003cem>Jumpers\u003c/em> at the National Theatre in London.\u003c/p>\n\u003cp>She had several acclaimed roles in the 1990s at London’s Almeida Theatre, including Martha in \u003cem>Who’s Afraid of Virginia Woolf?\u003c/em> and the title role in Greek tragedy \u003cem>Medea\u003c/em>.\u003c/p>\n\u003cp>Rigg won a Tony Award for \u003cem>Medea\u003c/em> on Broadway, and was nominated on three other occasions—most recently in 2018 for playing Mrs. Higgins in \u003cem>My Fair Lady\u003c/em>.\u003c/p>\n\u003cp>Jonathan Kent, who directed Rigg in some of her great stage roles, said her “combination of force of personality, beauty, courage and sheer emotional power made her a great classical actress—one of an astonishing generation of British stage performers.”\u003c/p>\n\u003cp>She never retired. One of Rigg’s final television roles was in rural veterinary drama \u003cem>All Creatures Great and Small\u003c/em>, which is currently running on British television.\u003c/p>\n\u003cp>Stoppard said Rigg was “the most beautiful woman in the room, but she was what used to be called a Trouper.”\u003c/p>\n\u003cp>“She went to work with her sleeves rolled up and a smile for everyone. Her talent was luminous.”\u003c/p>\n\u003cp>Rigg is survived by her daughter, son-in-law Guy Garvey—lead singer of the band Elbow—and a grandson.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2020 The Associated Press.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13886118/avengers-and-game-of-thrones-star-diana-rigg-dies-at-82","authors":["byline_arts_13886118"],"categories":["arts_1","arts_74","arts_1564","arts_990"],"tags":["arts_1945","arts_12140"],"featImg":"arts_13886125","label":"arts"},"arts_13876214":{"type":"posts","id":"arts_13876214","meta":{"index":"posts_1591205157","site":"arts","id":"13876214","score":null,"sort":[1583781149000]},"guestAuthors":[],"slug":"remembering-actor-max-von-sydow-from-bergman-to-game-of-thrones","title":"Remembering Actor Max Von Sydow, From Bergman to 'Game of Thrones'","publishDate":1583781149,"format":"standard","headTitle":"Remembering Actor Max Von Sydow, From Bergman to ‘Game of Thrones’ | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>Actor Max von Sydow, whose career stretched across seven decades, died Sunday at the age of 90. The imposing Swedish star played the title character in \u003cem>The Exorcist\u003c/em> and more than 100 other roles.\u003c/p>\n\u003cp>In his 20s, near the start of his career, von Sydow played chess with Death—and lost. Director Ingmar Bergman had cast the then-unknown actor as a medieval knight in \u003cem>The Seventh Seal \u003c/em>(1957), which is set in a land ravaged by the plague. The knight tries to delay the inevitable by challenging Death to a game of chess. The agreement is that his soul won’t be claimed for as long as he can keep the game going.\u003c/p>\n\u003cfigure id=\"attachment_13876221\" class=\"wp-caption alignright\" style=\"max-width: 255px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876221\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/images.jpg\" alt=\"Max von Sydow played a medieval knight who takes on Death in a game of chess in 1957’s The Seventh Seal.’\" width=\"255\" height=\"198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/images.jpg 255w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/images-160x124.jpg 160w\" sizes=\"(max-width: 255px) 100vw, 255px\">\u003cfigcaption class=\"wp-caption-text\">Max von Sydow played a medieval knight who takes on Death in a game of chess in 1957’s The Seventh Seal.’\u003c/figcaption>\u003c/figure>\n\u003cp>In real life, von Sydow kept the game going for decades, through a plethora of onscreen lives. Ten other Bergman features cemented his stature on the art house circuit, and dozens of roles helped make him into an international star. Two of those films also helped make his career in English: \u003cem>The Greatest Story Ever Told \u003c/em>(1965), in which he played Jesus, and \u003cem>Hawaii\u003c/em> (1966), in which he played a prim and proper missionary who is all but undone by Julie Andrews before he even embarks on his journey.\u003c/p>\n\u003cp>Though tall and handsome, von Sydow wasn’t often viewed by directors as a leading man, and especially not as a romantic lead. His deep voice and stern aspect often led to his being cast in more severe roles. In his mid-40s, for instance, he played Father Merrin, the frail, elderly title character in \u003cem>The Exorcist\u003c/em> (1973).\u003c/p>\n\u003cfigure id=\"attachment_13876216\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876216\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-800x600.jpg\" alt=\"Von Sydow played Jesus in 1965's 'The Greatest Story Ever Told.'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Sydow played Jesus in 1965’s ‘The Greatest Story Ever Told.’ \u003ccite>(AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As von Sydow aged, his craggy face and steely gaze made him much in demand as a flat-out bad guy. He was a fedora-wearing assassin in \u003cem>Three Days of the Condor \u003c/em>(1975), Ming the Merciless in \u003cem>Flash Gordon\u003c/em> (1980), a Bond villain in \u003cem>Never Say Never Again\u003c/em> (1983) and a murderous bureaucrat in \u003cem>Minority Report\u003c/em> (2002). Even Woody Allen cast him as a spoiler of sorts: In \u003cem>Hannah and Her Sisters\u003c/em> (1986), he played a reclusive intellectual who sneers at a world with which he refuses to engage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But von Sydow also excelled in playing the diametric opposite of those dyspeptic souls: rugged farmers and working men overcoming hardship in such epic dramas as \u003cem>The Emigrants\u003c/em> (1971) and \u003cem>Pelle the Conqueror \u003c/em>(1987), which won him his first Oscar nomination.\u003c/p>\n\u003cfigure id=\"attachment_13876217\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876217\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-800x600.jpg\" alt=\"'Hawaii' (1966) starred von Sydow and Julie Andrews as 19th-century American missionaries who travel to the islands to convert their inhabitants.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-1920x1441.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Hawaii’ (1966) starred von Sydow and Julie Andrews as 19th-century American missionaries who travel to the islands to convert their inhabitants. \u003ccite>(AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Von Sydow was fluent in Swedish, Danish, English, Italian and French. That last one was spoken by one of his most rending characters: a helpless, wheelchair-bound father who discovers he has much in common with his paralyzed son in \u003cem>The Diving Bell and the Butterfly\u003c/em> (2007). And for all von Sydow’s facility with language, he earned his other Oscar nomination for a character in \u003cem>Extremely Loud & Incredibly Close\u003c/em> (2011) who doesn’t speak a word.\u003c/p>\n\u003cfigure id=\"attachment_13876223\" class=\"wp-caption alignright\" style=\"max-width: 268px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876223\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-09-at-11.59.55-AM.png\" alt=\"Von Sydow played the Three-Eyed Raven on 'Game of Thrones.'\" width=\"268\" height=\"171\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-09-at-11.59.55-AM.png 268w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-09-at-11.59.55-AM-160x102.png 160w\" sizes=\"(max-width: 268px) 100vw, 268px\">\u003cfigcaption class=\"wp-caption-text\">Von Sydow played the Three-Eyed Raven on ‘Game of Thrones.’ \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The imagination of Hollywood producers being less than boundless, acting’s elder statesmen tend to be given mostly bit parts at the end of their careers, and von Sydow—who played old before his time—was no exception. But he invariably made his onscreen minutes count, whether guiding young star-warriors in \u003cem>Star Wars: The Force Awakens \u003c/em>(2015) or stepping in as the Three-Eyed Raven to guide young Bran Stark in HBO’s \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Editor\u003c/em> \u003ca href=\"http://www.npr.org/people/348780107/nina-gregory\">Nina Gregory\u003c/a>,\u003cem> producer \u003c/em>\u003ca href=\"http://www.npr.org/people/348740829/andrew-limbong\">Andrew Limbong\u003c/a> \u003cem>and digital producer \u003c/em>\u003ca href=\"http://www.npr.org/people/348780034/nicole-cohen\">Nicole Cohen\u003c/a> \u003cem>contributed to this report.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR.\u003c/a>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Remembering+Actor+Max+Von+Sydow%2C+From+Bergman+To+%27Game+Of+Thrones%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"After director Ingmar Bergman helped launch von Sydow's career, the imposing Swedish star went on to play Jesus, a Bond villain, an elderly exorcist and scores of other roles.","status":"publish","parent":0,"modified":1705021137,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":660},"headData":{"title":"Remembering Actor Max Von Sydow, From Bergman to 'Game of Thrones' | KQED","description":"After director Ingmar Bergman helped launch von Sydow's career, the imposing Swedish star went on to play Jesus, a Bond villain, an elderly exorcist and scores of other roles.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Remembering Actor Max Von Sydow, From Bergman to 'Game of Thrones'","datePublished":"2020-03-09T19:12:29.000Z","dateModified":"2024-01-12T00:58:57.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Alberto Pizzoli","nprByline":"Bob Mondello","nprImageAgency":"AFP/Getty Images","nprStoryId":"521704797","nprApiLink":"http://api.npr.org/query?id=521704797&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2020/03/09/521704797/remembering-actor-max-von-sydow-from-bergman-to-game-of-thrones?ft=nprml&f=521704797","nprRetrievedStory":"1","nprPubDate":"Mon, 09 Mar 2020 11:45:00 -0400","nprStoryDate":"Mon, 09 Mar 2020 09:39:00 -0400","nprLastModifiedDate":"Mon, 09 Mar 2020 10:26:50 -0400","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/me/2020/03/20200309_me_von_sydow_max.mp3?orgId=1&topicId=1062&d=260&p=3&story=521704797&ft=nprml&f=521704797","nprAudioM3u":"http://api.npr.org/m3u/1813620628-d36d99.m3u?orgId=1&topicId=1062&d=260&p=3&story=521704797&ft=nprml&f=521704797","templateType":"standard","featuredImageType":"standard","path":"/arts/13876214/remembering-actor-max-von-sydow-from-bergman-to-game-of-thrones","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/me/2020/03/20200309_me_von_sydow_max.mp3?orgId=1&topicId=1062&d=260&p=3&story=521704797&ft=nprml&f=521704797","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actor Max von Sydow, whose career stretched across seven decades, died Sunday at the age of 90. The imposing Swedish star played the title character in \u003cem>The Exorcist\u003c/em> and more than 100 other roles.\u003c/p>\n\u003cp>In his 20s, near the start of his career, von Sydow played chess with Death—and lost. Director Ingmar Bergman had cast the then-unknown actor as a medieval knight in \u003cem>The Seventh Seal \u003c/em>(1957), which is set in a land ravaged by the plague. The knight tries to delay the inevitable by challenging Death to a game of chess. The agreement is that his soul won’t be claimed for as long as he can keep the game going.\u003c/p>\n\u003cfigure id=\"attachment_13876221\" class=\"wp-caption alignright\" style=\"max-width: 255px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876221\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/images.jpg\" alt=\"Max von Sydow played a medieval knight who takes on Death in a game of chess in 1957’s The Seventh Seal.’\" width=\"255\" height=\"198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/images.jpg 255w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/images-160x124.jpg 160w\" sizes=\"(max-width: 255px) 100vw, 255px\">\u003cfigcaption class=\"wp-caption-text\">Max von Sydow played a medieval knight who takes on Death in a game of chess in 1957’s The Seventh Seal.’\u003c/figcaption>\u003c/figure>\n\u003cp>In real life, von Sydow kept the game going for decades, through a plethora of onscreen lives. Ten other Bergman features cemented his stature on the art house circuit, and dozens of roles helped make him into an international star. Two of those films also helped make his career in English: \u003cem>The Greatest Story Ever Told \u003c/em>(1965), in which he played Jesus, and \u003cem>Hawaii\u003c/em> (1966), in which he played a prim and proper missionary who is all but undone by Julie Andrews before he even embarks on his journey.\u003c/p>\n\u003cp>Though tall and handsome, von Sydow wasn’t often viewed by directors as a leading man, and especially not as a romantic lead. His deep voice and stern aspect often led to his being cast in more severe roles. In his mid-40s, for instance, he played Father Merrin, the frail, elderly title character in \u003cem>The Exorcist\u003c/em> (1973).\u003c/p>\n\u003cfigure id=\"attachment_13876216\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876216\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-800x600.jpg\" alt=\"Von Sydow played Jesus in 1965's 'The Greatest Story Ever Told.'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Sydow played Jesus in 1965’s ‘The Greatest Story Ever Told.’ \u003ccite>(AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As von Sydow aged, his craggy face and steely gaze made him much in demand as a flat-out bad guy. He was a fedora-wearing assassin in \u003cem>Three Days of the Condor \u003c/em>(1975), Ming the Merciless in \u003cem>Flash Gordon\u003c/em> (1980), a Bond villain in \u003cem>Never Say Never Again\u003c/em> (1983) and a murderous bureaucrat in \u003cem>Minority Report\u003c/em> (2002). Even Woody Allen cast him as a spoiler of sorts: In \u003cem>Hannah and Her Sisters\u003c/em> (1986), he played a reclusive intellectual who sneers at a world with which he refuses to engage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But von Sydow also excelled in playing the diametric opposite of those dyspeptic souls: rugged farmers and working men overcoming hardship in such epic dramas as \u003cem>The Emigrants\u003c/em> (1971) and \u003cem>Pelle the Conqueror \u003c/em>(1987), which won him his first Oscar nomination.\u003c/p>\n\u003cfigure id=\"attachment_13876217\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876217\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-800x600.jpg\" alt=\"'Hawaii' (1966) starred von Sydow and Julie Andrews as 19th-century American missionaries who travel to the islands to convert their inhabitants.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-1920x1441.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Hawaii’ (1966) starred von Sydow and Julie Andrews as 19th-century American missionaries who travel to the islands to convert their inhabitants. \u003ccite>(AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Von Sydow was fluent in Swedish, Danish, English, Italian and French. That last one was spoken by one of his most rending characters: a helpless, wheelchair-bound father who discovers he has much in common with his paralyzed son in \u003cem>The Diving Bell and the Butterfly\u003c/em> (2007). And for all von Sydow’s facility with language, he earned his other Oscar nomination for a character in \u003cem>Extremely Loud & Incredibly Close\u003c/em> (2011) who doesn’t speak a word.\u003c/p>\n\u003cfigure id=\"attachment_13876223\" class=\"wp-caption alignright\" style=\"max-width: 268px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876223\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-09-at-11.59.55-AM.png\" alt=\"Von Sydow played the Three-Eyed Raven on 'Game of Thrones.'\" width=\"268\" height=\"171\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-09-at-11.59.55-AM.png 268w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-09-at-11.59.55-AM-160x102.png 160w\" sizes=\"(max-width: 268px) 100vw, 268px\">\u003cfigcaption class=\"wp-caption-text\">Von Sydow played the Three-Eyed Raven on ‘Game of Thrones.’ \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The imagination of Hollywood producers being less than boundless, acting’s elder statesmen tend to be given mostly bit parts at the end of their careers, and von Sydow—who played old before his time—was no exception. But he invariably made his onscreen minutes count, whether guiding young star-warriors in \u003cem>Star Wars: The Force Awakens \u003c/em>(2015) or stepping in as the Three-Eyed Raven to guide young Bran Stark in HBO’s \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Editor\u003c/em> \u003ca href=\"http://www.npr.org/people/348780107/nina-gregory\">Nina Gregory\u003c/a>,\u003cem> producer \u003c/em>\u003ca href=\"http://www.npr.org/people/348740829/andrew-limbong\">Andrew Limbong\u003c/a> \u003cem>and digital producer \u003c/em>\u003ca href=\"http://www.npr.org/people/348780034/nicole-cohen\">Nicole Cohen\u003c/a> \u003cem>contributed to this report.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR.\u003c/a>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Remembering+Actor+Max+Von+Sydow%2C+From+Bergman+To+%27Game+Of+Thrones%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13876214/remembering-actor-max-von-sydow-from-bergman-to-game-of-thrones","authors":["byline_arts_13876214"],"categories":["arts_74","arts_1564"],"tags":["arts_1945"],"affiliates":["arts_137"],"featImg":"arts_13876224","label":"arts_137"},"arts_13869356":{"type":"posts","id":"arts_13869356","meta":{"index":"posts_1591205157","site":"arts","id":"13869356","score":null,"sort":[1572899451000]},"guestAuthors":[],"slug":"emilia-clarke-on-last-christmas-brexit-and-life-after-game-of-thrones","title":"Emilia Clarke on 'Last Christmas,' Brexit and Life After 'Game of Thrones'","publishDate":1572899451,"format":"standard","headTitle":"Emilia Clarke on ‘Last Christmas,’ Brexit and Life After ‘Game of Thrones’ | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>In the new romantic comedy \u003cem>Last Christmas\u003c/em>, Emilia Clarke plays Kate. She dresses like an elf, she works in a year-round Christmas-ornament shop and her life is a mess.\u003c/p>\n\u003cp>Enter the dashing Tom, played by Henry Golding (\u003ca href=\"https://www.npr.org/2018/08/22/640793631/crazy-rich-asians-changes-how-asian-males-are-viewed\">\u003cem>Crazy Rich Asians\u003c/em>\u003c/a>). He’s handsome, kind and quirky—but, of course, there is something elusive about him.\u003c/p>\n\u003cp>The movie is set to \u003ca href=\"https://www.npr.org/artists/506983447/george-michael\">George Michael\u003c/a> tunes and co-stars (and is co-written by) Emma Thompson. It takes place in a glittering, wintry London.\u003c/p>\n\u003cp>“We shot it last Christmas, in fact,” Clarke says. “And we shot it in the middle of the night, largely speaking, because on Regent Street, if you were to do it in any other time it would be rammed with tourists. And so to do that, we had to we had to use the available light. So the only light that we could bring was soft light, and so we just brought an obscene amount of fairy lights. So the London that you see in our movie is already beautiful—and then we made it 10 times sparklier.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=z9CEIcmWmtA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Clarke spoke on her character Kate, singing in the movie and what’s next after \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On her character, Kate\u003c/strong>\u003c/p>\n\u003cp>No, she’s not the mother of dragons. She’s got mother-of-dragon tendencies … Yeah, so Kate—she is your anti-heroine. We’re quite used to seeing, I think, in rom-coms a sort of perfect depiction of a young lady—and that ain’t Kate. And it’s in her flaws, is where she becomes so relatable. So she is struggling to get herself together, and she’s struggling to take care of herself, she’s struggling to take care of those around her, not really accepting help, kind of. You can tell she’s hiding from something, and life isn’t bringing her much joy when we first meet her. But she is trying.\u003c/p>\n\u003cp>\u003cstrong>On Kate’s mom, a refugee played by “the glorious Emma Thompson”\u003c/strong>\u003c/p>\n\u003cp>Emma co-wrote this with her husband Greg Wise, and the character that Emma plays is loosely based on Greg’s mom. And she is really struggling to find peace in the United Kingdom, which they have fled to because her memories of where she had to run from—former Yugoslavia and the war that they escaped—kind of haunt her every single day, and lead her to be slightly more anxious and worried and vocal.\u003c/p>\n\u003cp>\u003cstrong>On singing in the movie\u003c/strong>\u003c/p>\n\u003cp>Oh, it was incredibly nerve-wracking, because I care so much about singing, and I’m genuinely at my happiest when I am singing. However: Doing it on camera in front of a lot of people, and doing it, you know, with \u003ca href=\"https://www.youtube.com/watch?v=E8gmARGvPlI\">George’s perfect song\u003c/a> was—every time before I sing I just think I’m getting tonsillitis, or my throat is closing up or something. So it took a lot of courage, but I got there.\u003c/p>\n\u003cp>\u003cstrong>On Kate’s health issues and how they relate to her own, \u003c/strong>\u003ca href=\"https://www.newyorker.com/culture/personal-history/emilia-clarke-a-battle-for-my-life-brain-aneurysm-surgery-game-of-thrones\">\u003cstrong>which she recently disclosed\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>I wouldn’t say it was the defining thing that brought me to [the movie]. Dame Emma Thompson probably was that. But it definitely allowed me to bring quite a lot of truth to what Kate’s struggles were, because for Kate she had her health crisis in her early 20s, and that’s when I had mine too. And that time for any young person is incredibly intimidating.\u003c/p>\n\u003cp>\u003cstrong>On the depictions of immigrants and Brexit in the movie\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Clarke:\u003c/strong> Well, we’re showing a movie that is now, that is today. And I don’t think that Emma or Greg could have written something about London today without mentioning it, without having it. And they’re both politically outspoken, and care deeply about the refugee crisis, and care deeply about Brexit, and about inclusivity and community and the diverse multicultural thing that is London.\u003c/p>\n\u003cp>\u003cstrong>Garcia-Navarro:\u003c/strong> Yeah. What are your views on Brexit?\u003c/p>\n\u003cp>\u003cstrong>Clarke:\u003c/strong> Oh heavens, it’s heartbreaking. We’ve just heard now that \u003ca href=\"https://www.npr.org/2019/10/29/774573501/britain-braces-for-new-vote-in-december-that-could-ease-the-path-to-brexit\">we will have a snap election\u003c/a>, which I think is a very good thing indeed, because I think it’s going to put a full stop … maybe a comma after this very long, drawn-out situation we’ve been in since 2016, really. But I mean, I’m pathologically hopeful as a human being, and I’m pathologically hopeful that maybe we’ll just, you know, see the error of our ways, and remain, and just stay.\u003c/p>\n\u003cp>\u003cstrong>On what types of roles she’s seeking after \u003c/strong>\u003cstrong>\u003cem>Game of Thrones\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>So I’ve had the good fortune of being in this incredible show with this incredible character. And my goodness, if I were to get stereotyped as the mother of dragons, I could ask for worse. It’s really quite wonderful.\u003c/p>\n\u003cp>But what it’s left me with—after 10 years of seeing that, and being a part of that, and of doing quite big movies in my hiatuses and all of those things—is a yearning for a different sort of creative ownership. So I started my production company about three years ago—very, very quietly because I didn’t want it to go wrong and have it be public knowledge—and now I’ve got six or seven things on my slate that I’m writing and producing. And because there is—I mean, you know, the landscape has changed for young actresses and actors for the sort of roles that are out there. I struggle to find them, because the thing that I’ve learned from being on 10 years in the show is that the biggest luxury in life is time and space. So I wanted to take those two things, which I have very luckily been able to have now, and really consider what my next option is. Because I care about what I’m doing with my time.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Dana Cronin and D. Parvaz produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Emilia+Clarke+On+%27Last+Christmas%2C%27+Brexit+And+Life+After+%27Game+Of+Thrones%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Her new romantic comedy, also starring Henry Golding, is set to George Michael tunes, was co-written by Emma Thompson and takes place in London in winter.","status":"publish","parent":0,"modified":1705021870,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":1086},"headData":{"title":"Emilia Clarke on 'Last Christmas,' Brexit and Life After 'Game of Thrones' | KQED","description":"Her new romantic comedy, also starring Henry Golding, is set to George Michael tunes, was co-written by Emma Thompson and takes place in London in winter.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Emilia Clarke on 'Last Christmas,' Brexit and Life After 'Game of Thrones'","datePublished":"2019-11-04T20:30:51.000Z","dateModified":"2024-01-12T01:11:10.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Lulu Garcia-Navarro","templateType":"standard","featuredImageType":"standard","path":"/arts/13869356/emilia-clarke-on-last-christmas-brexit-and-life-after-game-of-thrones","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the new romantic comedy \u003cem>Last Christmas\u003c/em>, Emilia Clarke plays Kate. She dresses like an elf, she works in a year-round Christmas-ornament shop and her life is a mess.\u003c/p>\n\u003cp>Enter the dashing Tom, played by Henry Golding (\u003ca href=\"https://www.npr.org/2018/08/22/640793631/crazy-rich-asians-changes-how-asian-males-are-viewed\">\u003cem>Crazy Rich Asians\u003c/em>\u003c/a>). He’s handsome, kind and quirky—but, of course, there is something elusive about him.\u003c/p>\n\u003cp>The movie is set to \u003ca href=\"https://www.npr.org/artists/506983447/george-michael\">George Michael\u003c/a> tunes and co-stars (and is co-written by) Emma Thompson. It takes place in a glittering, wintry London.\u003c/p>\n\u003cp>“We shot it last Christmas, in fact,” Clarke says. “And we shot it in the middle of the night, largely speaking, because on Regent Street, if you were to do it in any other time it would be rammed with tourists. And so to do that, we had to we had to use the available light. So the only light that we could bring was soft light, and so we just brought an obscene amount of fairy lights. So the London that you see in our movie is already beautiful—and then we made it 10 times sparklier.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/z9CEIcmWmtA'\n title='//www.youtube.com/embed/z9CEIcmWmtA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Clarke spoke on her character Kate, singing in the movie and what’s next after \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On her character, Kate\u003c/strong>\u003c/p>\n\u003cp>No, she’s not the mother of dragons. She’s got mother-of-dragon tendencies … Yeah, so Kate—she is your anti-heroine. We’re quite used to seeing, I think, in rom-coms a sort of perfect depiction of a young lady—and that ain’t Kate. And it’s in her flaws, is where she becomes so relatable. So she is struggling to get herself together, and she’s struggling to take care of herself, she’s struggling to take care of those around her, not really accepting help, kind of. You can tell she’s hiding from something, and life isn’t bringing her much joy when we first meet her. But she is trying.\u003c/p>\n\u003cp>\u003cstrong>On Kate’s mom, a refugee played by “the glorious Emma Thompson”\u003c/strong>\u003c/p>\n\u003cp>Emma co-wrote this with her husband Greg Wise, and the character that Emma plays is loosely based on Greg’s mom. And she is really struggling to find peace in the United Kingdom, which they have fled to because her memories of where she had to run from—former Yugoslavia and the war that they escaped—kind of haunt her every single day, and lead her to be slightly more anxious and worried and vocal.\u003c/p>\n\u003cp>\u003cstrong>On singing in the movie\u003c/strong>\u003c/p>\n\u003cp>Oh, it was incredibly nerve-wracking, because I care so much about singing, and I’m genuinely at my happiest when I am singing. However: Doing it on camera in front of a lot of people, and doing it, you know, with \u003ca href=\"https://www.youtube.com/watch?v=E8gmARGvPlI\">George’s perfect song\u003c/a> was—every time before I sing I just think I’m getting tonsillitis, or my throat is closing up or something. So it took a lot of courage, but I got there.\u003c/p>\n\u003cp>\u003cstrong>On Kate’s health issues and how they relate to her own, \u003c/strong>\u003ca href=\"https://www.newyorker.com/culture/personal-history/emilia-clarke-a-battle-for-my-life-brain-aneurysm-surgery-game-of-thrones\">\u003cstrong>which she recently disclosed\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>I wouldn’t say it was the defining thing that brought me to [the movie]. Dame Emma Thompson probably was that. But it definitely allowed me to bring quite a lot of truth to what Kate’s struggles were, because for Kate she had her health crisis in her early 20s, and that’s when I had mine too. And that time for any young person is incredibly intimidating.\u003c/p>\n\u003cp>\u003cstrong>On the depictions of immigrants and Brexit in the movie\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Clarke:\u003c/strong> Well, we’re showing a movie that is now, that is today. And I don’t think that Emma or Greg could have written something about London today without mentioning it, without having it. And they’re both politically outspoken, and care deeply about the refugee crisis, and care deeply about Brexit, and about inclusivity and community and the diverse multicultural thing that is London.\u003c/p>\n\u003cp>\u003cstrong>Garcia-Navarro:\u003c/strong> Yeah. What are your views on Brexit?\u003c/p>\n\u003cp>\u003cstrong>Clarke:\u003c/strong> Oh heavens, it’s heartbreaking. We’ve just heard now that \u003ca href=\"https://www.npr.org/2019/10/29/774573501/britain-braces-for-new-vote-in-december-that-could-ease-the-path-to-brexit\">we will have a snap election\u003c/a>, which I think is a very good thing indeed, because I think it’s going to put a full stop … maybe a comma after this very long, drawn-out situation we’ve been in since 2016, really. But I mean, I’m pathologically hopeful as a human being, and I’m pathologically hopeful that maybe we’ll just, you know, see the error of our ways, and remain, and just stay.\u003c/p>\n\u003cp>\u003cstrong>On what types of roles she’s seeking after \u003c/strong>\u003cstrong>\u003cem>Game of Thrones\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>So I’ve had the good fortune of being in this incredible show with this incredible character. And my goodness, if I were to get stereotyped as the mother of dragons, I could ask for worse. It’s really quite wonderful.\u003c/p>\n\u003cp>But what it’s left me with—after 10 years of seeing that, and being a part of that, and of doing quite big movies in my hiatuses and all of those things—is a yearning for a different sort of creative ownership. So I started my production company about three years ago—very, very quietly because I didn’t want it to go wrong and have it be public knowledge—and now I’ve got six or seven things on my slate that I’m writing and producing. And because there is—I mean, you know, the landscape has changed for young actresses and actors for the sort of roles that are out there. I struggle to find them, because the thing that I’ve learned from being on 10 years in the show is that the biggest luxury in life is time and space. So I wanted to take those two things, which I have very luckily been able to have now, and really consider what my next option is. Because I care about what I’m doing with my time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Dana Cronin and D. Parvaz produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Emilia+Clarke+On+%27Last+Christmas%2C%27+Brexit+And+Life+After+%27Game+Of+Thrones%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13869356/emilia-clarke-on-last-christmas-brexit-and-life-after-game-of-thrones","authors":["byline_arts_13869356"],"categories":["arts_74","arts_75","arts_990"],"tags":["arts_977","arts_1945"],"affiliates":["arts_137"],"featImg":"arts_13869368","label":"arts_137"},"arts_13654506":{"type":"posts","id":"arts_13654506","meta":{"index":"posts_1591205157","site":"arts","id":"13654506","score":null,"sort":[1555455015000]},"guestAuthors":[],"slug":"game-of-thrones-teaches-u-c-berkeley-students-art-of-language-creation","title":"Spoken in Westeros, Born in California: How 'Game of Thrones' Languages Were Invented","publishDate":1555455015,"format":"audio","headTitle":"Spoken in Westeros, Born in California: How ‘Game of Thrones’ Languages Were Invented | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The premiere episode of the final season of \u003cem>Game of Thrones\u003c/em> drew a record 17.4 million viewers across various platforms. But it’s not just HBO’s hit show that’s drawing big numbers. More than 1 million people have signed up to learn High Valyrian, a fictional language spoken in the series.\u003c/p>\n\u003cp>For linguist David Peterson, it all started six years after he graduated from UC Berkeley.\u003c/p>\n\u003cp>The \u003cem>Game of Thrones\u003c/em> producers held a competition looking for someone to create a different language, one for the Dothraki people, the nomadic warriors of Essos.\u003c/p>\n\u003cp>Peterson won, and went on to become the show’s language creator. With just a couple of lines to go on from George R. R. Martin’s books, Peterson also created High Valyrian, the native tongue of Daenerys Stormborn and House Targaryen.\u003c/p>\n\u003cp>Now some 1.2 million people have signed up to learn High Valyrian on the free language-learning app Duolingo. According to Duolingo, High Valyrian \u003ca href=\"https://www.duolingo.com/courses\" target=\"_blank\" rel=\"noopener\">currently has as many active learners as Hebrew\u003c/a>.\u003c/p>\n\u003cp>So why is High Valyrian so popular?\u003c/p>\n\u003cp>“Well first let’s be serious. It’s the dragons. That’s what draws people. I mean Daenerys is cool, but the dragons are awesome. So I’m sure that’s part of it.”\u003c/p>\n\u003cp>Peterson recalls when High Valyrian was first introduced during Season 3, when Daenerys says, “A dragon is not a slave.”\u003c/p>\n\u003cp>“It was a really cool moment for the series, a very memorable moment for the series,” said Peterson. “And unlike many memorable moments of the series, it was a positive one.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bjkVgYZB0aA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>KQED first spoke with Peterson in the summer of 2017 when he was a visiting professor at UC Berkeley, teaching students how to speak and write like characters in \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003cp>He assigned each of his students one language to build from the \u003cem>Game of Thrones\u003c/em> universe. John Clements created one for the people of Sarnor.\u003c/p>\n\u003cp>Clements, who was majoring in computer science at the University of Arkansas, said creating languages has been a hobby of his since he was a kid.\u003c/p>\n\u003cp>“It’s always something I’ve been interested in,” said Clements. “I remember in middle school I would sit at lunch and make up alphabets.”\u003c/p>\n\u003cfigure id=\"attachment_13655084\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13655084\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-800x600.jpg\" alt=\"Student Dash Stevens has a background in linguistics and has been creating his own languages for several years.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Student Dash Stevens has a background in linguistics and has been creating his own languages for several years. \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fellow student Dash Stevens fleshed out the language of the people of Jogos Nhai. Stevens studied linguistics at the University of Hawaii, and has been inventing new tongues for years.\u003c/p>\n\u003cp>“It’s got a base consonant and then from there it has markings for vowels,” said Stevens of his linguistic project. “The closest kind of writing system in existence would be devanagari for Hindi.”\u003c/p>\n\u003cfigure id=\"attachment_13659116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13659116\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">U.C. Berkeley visiting professor David Peterson runs through translation exercises in a recent class. \u003ccite>(Tiffany Camhi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The class was a crash-course in linguistics through a \u003cem>Game of Thrones\u003c/em> lens, said Peterson.\u003c/p>\n\u003cp>“In learning how to do this stuff you’re basically learning everything that there is to know about language,” Peterson said.\u003c/p>\n\u003cp>As for how that course went in 2017, Peterson said he was pleased with his students’ progress.\u003c/p>\n\u003cp>“There have been lots of theft-worthy ideas that I’ve seen,” said Peterson.\u003c/p>\n\u003cp>Peterson said one of the most essential things the students learn is to make languages that people actually want to use on a daily basis. “That is what all languages are going to have in common,” said Peterson. “They evolve structures that are going to be useful in some way.”\u003c/p>\n\u003cp>For example, a word in English that would not be useful — if it existed — is “cattif.” Peterson made up the word and said it means “17 cats.”\u003c/p>\n\u003cp>Peterson said most people would have very little use for a word that means 17 cats, so it would just fall out of use. “That’s because of the way the human brain works, the way that we live our lives and our experience with cats.”\u003c/p>\n\u003cp>For the students, that meant making several changes to their languages to make them truly practical. Stevens said he went through seven versions of his written system.\u003c/p>\n\u003cp>“If you want something to be even remotely realistic, you have to have that kind of depth to it,” Stevens said.\u003c/p>\n\u003cfigure id=\"attachment_13655086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13655086\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of many drafts of Dash Stevens’ writing system for the people of Jogos Nhai. \u003ccite>(Tiffany Camhi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So could one of these students be the next hot new language inventor in Hollywood?\u003c/p>\n\u003cp>The entertainment industry is just starting to develop serious careers for language creators, said Peterson. So the good news for his students: jobs are on the way.\u003c/p>\n\u003cp>Although Peterson calls Orange County home, he watched the Season 8 premiere back on the Berkeley campus with some students Sunday night. And like all fans, he’s bracing himself because he knows a lot is about to go down in whatever language the character speaks.\u003c/p>\n\u003cp>\u003cem>This post includes reporting from KCRW’s Jenny Hamel and KQED’s David Marks. A version of this story was originally published on July 14, 2017.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"More than 1 million people have signed up online to learn High Valyrian, a fictional ‘Game of Thrones’ language. For creator David Peterson, it all started after he graduated from UC Berkeley and entered a contest.","status":"publish","parent":0,"modified":1705026322,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":31,"wordCount":908},"headData":{"title":"Spoken in Westeros, Born in California: How 'Game of Thrones' Languages Were Invented | KQED","description":"More than 1 million people have signed up online to learn High Valyrian, a fictional ‘Game of Thrones’ language. For creator David Peterson, it all started after he graduated from UC Berkeley and entered a contest.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Spoken in Westeros, Born in California: How 'Game of Thrones' Languages Were Invented","datePublished":"2019-04-16T22:50:15.000Z","dateModified":"2024-01-12T02:25:22.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/tcr/2019/04/HamelGOTLanguage.mp3","sticky":false,"audioTrackLength":112,"path":"/arts/13654506/game-of-thrones-teaches-u-c-berkeley-students-art-of-language-creation","audioDuration":114000,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The premiere episode of the final season of \u003cem>Game of Thrones\u003c/em> drew a record 17.4 million viewers across various platforms. But it’s not just HBO’s hit show that’s drawing big numbers. More than 1 million people have signed up to learn High Valyrian, a fictional language spoken in the series.\u003c/p>\n\u003cp>For linguist David Peterson, it all started six years after he graduated from UC Berkeley.\u003c/p>\n\u003cp>The \u003cem>Game of Thrones\u003c/em> producers held a competition looking for someone to create a different language, one for the Dothraki people, the nomadic warriors of Essos.\u003c/p>\n\u003cp>Peterson won, and went on to become the show’s language creator. With just a couple of lines to go on from George R. R. Martin’s books, Peterson also created High Valyrian, the native tongue of Daenerys Stormborn and House Targaryen.\u003c/p>\n\u003cp>Now some 1.2 million people have signed up to learn High Valyrian on the free language-learning app Duolingo. According to Duolingo, High Valyrian \u003ca href=\"https://www.duolingo.com/courses\" target=\"_blank\" rel=\"noopener\">currently has as many active learners as Hebrew\u003c/a>.\u003c/p>\n\u003cp>So why is High Valyrian so popular?\u003c/p>\n\u003cp>“Well first let’s be serious. It’s the dragons. That’s what draws people. I mean Daenerys is cool, but the dragons are awesome. So I’m sure that’s part of it.”\u003c/p>\n\u003cp>Peterson recalls when High Valyrian was first introduced during Season 3, when Daenerys says, “A dragon is not a slave.”\u003c/p>\n\u003cp>“It was a really cool moment for the series, a very memorable moment for the series,” said Peterson. “And unlike many memorable moments of the series, it was a positive one.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/bjkVgYZB0aA'\n title='//www.youtube.com/embed/bjkVgYZB0aA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>KQED first spoke with Peterson in the summer of 2017 when he was a visiting professor at UC Berkeley, teaching students how to speak and write like characters in \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003cp>He assigned each of his students one language to build from the \u003cem>Game of Thrones\u003c/em> universe. John Clements created one for the people of Sarnor.\u003c/p>\n\u003cp>Clements, who was majoring in computer science at the University of Arkansas, said creating languages has been a hobby of his since he was a kid.\u003c/p>\n\u003cp>“It’s always something I’ve been interested in,” said Clements. “I remember in middle school I would sit at lunch and make up alphabets.”\u003c/p>\n\u003cfigure id=\"attachment_13655084\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13655084\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-800x600.jpg\" alt=\"Student Dash Stevens has a background in linguistics and has been creating his own languages for several years.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Student Dash Stevens has a background in linguistics and has been creating his own languages for several years. \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fellow student Dash Stevens fleshed out the language of the people of Jogos Nhai. Stevens studied linguistics at the University of Hawaii, and has been inventing new tongues for years.\u003c/p>\n\u003cp>“It’s got a base consonant and then from there it has markings for vowels,” said Stevens of his linguistic project. “The closest kind of writing system in existence would be devanagari for Hindi.”\u003c/p>\n\u003cfigure id=\"attachment_13659116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13659116\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">U.C. Berkeley visiting professor David Peterson runs through translation exercises in a recent class. \u003ccite>(Tiffany Camhi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The class was a crash-course in linguistics through a \u003cem>Game of Thrones\u003c/em> lens, said Peterson.\u003c/p>\n\u003cp>“In learning how to do this stuff you’re basically learning everything that there is to know about language,” Peterson said.\u003c/p>\n\u003cp>As for how that course went in 2017, Peterson said he was pleased with his students’ progress.\u003c/p>\n\u003cp>“There have been lots of theft-worthy ideas that I’ve seen,” said Peterson.\u003c/p>\n\u003cp>Peterson said one of the most essential things the students learn is to make languages that people actually want to use on a daily basis. “That is what all languages are going to have in common,” said Peterson. “They evolve structures that are going to be useful in some way.”\u003c/p>\n\u003cp>For example, a word in English that would not be useful — if it existed — is “cattif.” Peterson made up the word and said it means “17 cats.”\u003c/p>\n\u003cp>Peterson said most people would have very little use for a word that means 17 cats, so it would just fall out of use. “That’s because of the way the human brain works, the way that we live our lives and our experience with cats.”\u003c/p>\n\u003cp>For the students, that meant making several changes to their languages to make them truly practical. Stevens said he went through seven versions of his written system.\u003c/p>\n\u003cp>“If you want something to be even remotely realistic, you have to have that kind of depth to it,” Stevens said.\u003c/p>\n\u003cfigure id=\"attachment_13655086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13655086\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of many drafts of Dash Stevens’ writing system for the people of Jogos Nhai. \u003ccite>(Tiffany Camhi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So could one of these students be the next hot new language inventor in Hollywood?\u003c/p>\n\u003cp>The entertainment industry is just starting to develop serious careers for language creators, said Peterson. So the good news for his students: jobs are on the way.\u003c/p>\n\u003cp>Although Peterson calls Orange County home, he watched the Season 8 premiere back on the Berkeley campus with some students Sunday night. And like all fans, he’s bracing himself because he knows a lot is about to go down in whatever language the character speaks.\u003c/p>\n\u003cp>\u003cem>This post includes reporting from KCRW’s Jenny Hamel and KQED’s David Marks. A version of this story was originally published on July 14, 2017.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13654506/game-of-thrones-teaches-u-c-berkeley-students-art-of-language-creation","authors":["3251"],"categories":["arts_235","arts_75","arts_990"],"tags":["arts_1945","arts_596"],"featImg":"arts_13660595","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. 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