[Televisionary]

"Power resides where men believe it resides. It's a trick, a shadow on the wall, and a very small man can cast a very large shadow. What is weakness in the end? The inability to let things go, the desires that make us who we are, the sense of sentiment and of familial bond? Should we all strive to be as unyielding as stone and sea? Or is that weakness is inherently part and parcel of who we are as human beings, defined as much by those frailties as we are by our innate strengths? In the end, can we help ourselves from giving into our true natures? On this week's episode of Game of Thrones ("What Is Dead May Never Die"), written by Bryan Cogman and directed by Alik Sakharov, the concept of weakness, both political and psychological, weighed heavily on the action, as Tyrion (Peter Dinklage) sought out ways of securing his hold on the small council, while unaware of his own potential soft spot, one that could easily be exploited by those looking to do him harm.

HBO’s Girls , which launches Sunday, is provocative, original, and addictive. Over at The Daily Beast, you can read my latest feature, "HBO's Girls is the Best New Show of 2012," in which I (not surprisingly, given the headline), review HBO's Girls , from creator/writer/director/star/executive producer Lena Dunham ( Tiny Furniture ). With her 2010 Sundance-darling film Tiny Furniture, Lena Dunham captured the malaise and uncertainty of a generation of postcollege 20-somethings with grit, humor, and painful realism, transforming Manhattan into a depressing playground for overeducated, underqualified youths in an economy that had seemingly forgotten about their existence. Many of the same themes—and several of the same actors—are transported from Dunham’s accomplished indie film to HBO’s infectious and addictive Girls, the winking black comedy which begins Sunday evening, and which counts Dunham as creator, writer, director, and star (and one of the executive pr

With Showtime’s recent dramas Homeland and Shameless , characters with bipolar disorder on television are no longer on the fringes. Over at The Daily Beast, you can read my latest feature, "TV Tackles Bipolar Disorder," in which I explore the portrayals of Carrie Mathison and Monica Gallagher, played by Claire Danes and Chloe Webb, as individuals with bipolar disorder and how those realistic and nuanced portrayals both shape their respective series but also help to remove the stigma associated with mental illness. I talk to Homeland co-creator Alex Gansa about Carrie's illness and how her decision to turn to ECT will affect Season Two (beginning in September) and with Shameless writer/producer Etan Frankel about the handling of Monica and how her condition has molded the Gallagher family. On Homeland, Claire Danes’ Carrie Mathison is a brilliant and ambitious CIA analyst, gifted with a beautiful mind that sees connections and hidden patterns that others around her

In Season Two of the HBO smash drama Game of Thrones , Jon Snow becomes a true warrior. Over at The Daily Beast, you can read my latest feature, entitled " Game of Thrones ' Emo Hero," in which I sit down with Kit Harington and talk about playing Jon Snow, fame, what’s to come in Season Two, Ygritte, Samwell, and why he refuses to wear a wig. Within the harsh world of HBO’s fantasy series Game of Thrones, based on George R.R. Martin’s A Song of Ice and Fire novels, you either live by the sword or you die by it. In the Seven Kingdoms of Westeros, court is a deadly pit of vipers, with each of the titular game’s players scheming and manipulating their way to higher realms of power and influence. Not everyone is engaged in these sordid power plays. Bastard-born Jon Snow is a child of the North, raised in the ice and cold of Winterfell before being packed off to the Night’s Watch, a brotherhood of men sworn to protect the 700-foot ancient Wall and the realm from the thr

"You loved it." What does it mean to be a good man? Is it the ability to uphold one's vows--constancy, fidelity, honesty--or is it that one's actions echo forever in a relationship? We're given a prism in this week's episode of Mad Men ("Mystery Date"), written by Victor Levin and Matthew Weiner and directed by Matt Shakman, through which to view both Don Draper (Jon Hamm) and Greg Harris (Sam Page), as well as the notion of the pursuit, which looms large over the action, casting a dark spell from which several characters find they cannot wake. It's telling that Michael Ginsburg (Ben Feldman) offers a disturbing fairy tale to the pitch clients rather than the agreed-upon campaign that he had already discussed with Don, putting everyone on the spot. He offers up a narrative that's certainly not in line with the Disney version of Cinderella, but casts the heroine as the prey of a deranged man, who pursues her down the darkened alleys and c

"Sometimes those with the most power have the least grace." What is the difference between a threat and a promise? Whether in this world or the Seven Kingdoms of Westeros, the only true promise in this life is death. It is, after all, the one destination that we're all inexorably headed, and while we can perhaps temporarily avoid that journey through a series of detours or byways, the night lands are the one place we all end up eventually. Of course, the danger is increasingly higher for those enmeshed in the war for control of the Iron Throne than, hopefully, the readers of this review. Extending one's lifespan, staving off the various threats that rise up to hurry you on your journey, requires a certain skill of bargaining. Or the ability to play the titular game. You can choose to be a player or a pawn, or you can have that choice made for you. The notion of threats lingers over this week's episode of HBO's Game of Thrones ("The Night Lands"

Don Draper vs. Tyrion Lannister? Betty vs. Cersei? Over at The Daily Beast, you can read my latest feature, " Game of Thrones and Mad Men Characters Fight to the Death," in which I imagine 10 tongue-in-cheek battles between the characters of AMC’s Mad Men and their Game of Thrones counterparts on HBO. With the return of AMC’s Mad Men and HBO's Game of Thrones , Sunday evenings have become a tug of war, with the two critical darlings exerting an irresistible pull on the faithful. It’s hard to escape certain similarities between the two shows: both take place in distant times (OK, Game of Thrones , based on George R.R. Martin’s A Song of Ice and Fire novels, is set in another world altogether), both delve into racial and religious issues this season, and both feature heavy drinking, illicit relationships, and completely inappropriate workplace behavior in worlds that celebrate ambition, cruelty, and Machiavellian power grabs. Which raises an imaginary questio