I’ve always been something of a casual observer to the …
There’s a much quoted line from David Fincher’s Seven, found in one of many notebooks scribbled by horrific serial killer John Doe, that reads: “Long is the way, and hard, that out of hell leads up to light”. The sentiment and association is very appropriate when musing on the visceral sledgehammer assault on emotions, morality and senses represented by David Peace’s Red Riding series, a sprawling nine year epic of neo-noir, adult fear and a simmering stew of all forms of human evil.
Author George R. R. Martin’s Song of Ice and Fire has been a hit among genre fans since its first installment, A Game of Thrones, hit bookshelves in 1996, so when showrunners David Benioff and D. B. Weiss sold HBO on an adaptation of the book series a decade later, they knew they had a daunting task in front of them. Martin’s world is sprawling, with hundreds of characters, rather than the normal handful, decades of complicated backstory, and a distinct, if quasi-medieval, social structure.