How 'Big' is the 'Game of Thrones' World?

Let me be clear: I am in no way questioning the size of its fanbase or the sprawling narrative that is A Song of Ice and Fire." I am not the type of nerd to belittle any particular fandom or its accomplishments, even those to which I don't personally belong. No, I'm the type of nerd who needs to functionally quantify how those worlds work until I am either sufficiently assuaged or beaten by those next to me into a light coma.

When I ask, "How big is the Game of Thrones world?" I'm asking if the continents we've seen make up the bulk or simply a small fraction of their world's landmasses. I'm asking if, like James Cameron's Pandora, the planet is physically smaller than Earth and–having a potentially lower mass–the gravity is weak enough to allow large reptiles to grow in an oxygen-rich atmosphere and ascend to the skies on leathery wings. Does rain fall less forcefully? Are the blows from the executioner's blade less powerful? How high would Ned Stark's skull bounce? More pressing, narratively, is there an entire world of events happening outside the scope of this franchise waiting to be mined for ideas? Other civilizations at different technological levels inhabiting the same celestial sphere?

"Event Television" is the Death Knell of Network TV

Certain shows have been good for television as a medium in the last few years. Complex storytelling, compelling antiheroes, and gray morality have turned water cooler talk from Desperate Housewives to "I can't believe Walt fucking [SPOILERED] [CHARACTER]." It’s essentially the same conversation when you remove the verbs, but suffice it to say that a high-maintenance cosmetic surgery addict is fairly distinct from a meth-cooking recovering cancer patient with a Napoleon complex. Certainly, the meth cook is more readily likable.

"Event Television" is being touted a lot right now. It's not a new idea, but it's the first time an old format has spurred so many producers to attempt to make money by creating grand, intricate shows that–frankly–cost a hell of a lot of money to produce. Let us be clear: it is wonderful that networks are shilling out crazy gobs of cash to put together smart scripts, talented actors, and vision-filled producers and directors, and effectively giving them creative license to do what they think works best for the show. All of those things foster creativity and a generally better story. This is good.