Voyou recently pinpointed one of the peculiarities of Game of Thrones:
Part of the problem here is the audience judging the characters by contemporary liberal-democratic norms, but the more serious problem is that, although, as fans like to remind us, the show is set in a pre-modern world of violence, hierarchy and pervasive gender inequality, all the characters have the mores of contemporary bourgeois liberals. Apparently it’s easier to imagine the pre-history of modern social structures than to imagine the non-existence of modern liberal norms. This could perhaps be explained by the show being a bit stupid, but maybe this is a kind of ideology critique I haven’t yet quite grasped. Ideology, after all, is a pervasive set of practical beliefs which misrecognise underlying social structures, but usually we would think that this misrecognition is at some level itself explicable in terms of social structures. In Game of Thrones, though, there is an all-encompasing set of beliefs which is at no point compatible with the lived experience of the people who hold these beliefs: it is, that is to say, pure ideology.
I agree with this analysis, and for me it opens out onto the broader question of where the “fantasy” in the fantasy genre lies. It’s always struck me as strange that the genre known as “fantasy” is always some kind of medieval setting — yes, there’s magic, etc., but how does the rigid patriarchal structure, the militarism, the treatment of all women as property, etc., fit into this “fantasy”? Perhaps the fantasy genre gives us our fantasy of a tradition or more “natural” order of things, when men were men and so forth, while allowing us to disavow it insofar as all the characters always see right through it (in the style of a Zizekian cynical subject). In this regard, it’s interesting that the family that has suffered most in the show is the Starks, who basically do appear to believe in the “official” ideology, and that Joffrey is so hatable precisely because he immediately buys into that ideology as well — he embodies Lacan’s insane king who believes that he really is king.
I don’t know if the show counts as ideology critique, but it’s an interesting variation on the sociopath fantasy — we have dozens of characters who hold themselves at a distance from social forces in order to instrumentalize them, but instead of this being in conflict with good liberal values, good liberal values are precisely what enables the sociopathic pattern.