VIP Game of Thrones

[Razzmatazz]

Misliš, kao kad neko nešto pita na internetu, pa pitanje završi rečenicom "ko zna neka napiše"? :lol:Falio mi je u mom postu 1 zaker™ - Igritina strela u Džonovoj nožici, da ćopa tamo po zidu i oko njega.

[Weenie Pooh]

Meni je taj manjak strele verovatno najveći zaker™. Uopšte mi nije jasno zašto su to izbacili, da ne planiraju možda da se Jon opet penje preko Zida pa neće da bude ranjen? Hoće li ti wildlings da napadnu Castle Black u finalu, ili šta tu treba da se desi? Pošto im je onaj desant na Drvar kad se njih pedeset neuspešno zaletelo na jednog dedu i njegove konje delovao užasno tragično... Možda će ipak lakše da osvoje Castle Black, Maester Aemon je bar slep a ovaj je mogao da ih vidi.

[MayDay]

Dobro, možda ne priliči Džonu da se kezi u facu mrtvaku, ali Orel je odsecao kanap na zidu i spopadao mu Igrit na svakom ćošku. Plus ga je terao da ubije čičicu konjušara.

[Calavera]

Čekaj, tebi realno ne smeta kad likovi bezvete deklamuju neke informacije koje im ili nisu poznate uopšte, ili su sasvim dobro poznate i njima i sagovorniku? To je meni etalon za loš TV, kad se lik iz serije direktno obraća zaboravnoj publici!

Ali kako to tebi uopste padne na pamet? :D Mozda joj je Sansa rekla ili je bila iza nje dok je njoj to Maloprstic pricao, u svakom slucaju nije nesto sto ona ne bi smela znati. Jeste bilo malo previse ekspozicije tu, doduse.

[Weenie Pooh]

Pa potpuno je bezvezna ekspozicija, u ključnoj epizodi sezone oni troše vreme da nas podsete na to ko je Hound i odakle mu ožiljci, kao da je sad vreme da se nadoknađuje za to što su dve godine štedeli vreme na njemu.Na kraju nemamo ništa ni od njegovog i Arjinog odnosa, ova njena besmisleno banalna pretnja "zabošću ti mač u oko jednog dana" ide protiv onog što se sugerisalo u prošloj epizodi, da je ona svesna da mu ne trenutno može ništa a možda i ne mora, jer je ipak vodi kući. Zvuči kao jedno od one dece što vole da muče kućne ljubimce, umesto da se vezuje za njega tako da ga s vremenom nehotice ukloni sa hit liste.

[Amelija]

<gunđ>- bah, ipak ništa od vuka, samo je prosto bio u kavezu- barem je Roslin mogla da plače kad su krenuli u krevet- Robova žena ipak nije špijunka- šta ima ja™ da pričam Weeniju™ o ožiljku i bratu, kakve to ima veze sa bilo čim a pre svega kako ja to uopšte znam (da, nerviralo me je i ono pre sa Sansom i Psetom što je moglo biti mnogo bolje odrađeno, a i ovo sada se ne vidi lepo kako ga Arja prvo mrzi iz dna duše a posle ga spontano izbaci s liste i pita se "ju a zašto")- zašto Igrit nije pogodila Džona strelicom</gunđ>

[Weenie Pooh]

+ Jedan majušni, minorni gunđ: Zašto Jojen kaže Branu da je njegovo wargovanje Hodora bez presedana, "no one can do that anywhere"? Ko je proglasio tog malog umišljenog govnara za nekog autoriteta? On očigledno nije čitao prolog pete knjige gde Orell to pokušava da izvede na samrti i seća se kako svi wildlings znaju da to može da se desi, zato se i plaše i ne veruju njima wargovima?

[Razzmatazz]

Sitan addendum na gunđ: Varamyr Sixskins, ne Orell.

[Weenie Pooh]

Taj, taj, Orell je zglajznuo još na straži kad je Jon sreo Ygritte, ja sam ih u glavi spojio u jednog lika da uštedim na ceni produkcije -_-

[Weenie Pooh]

Elio sa westeros.org objasnio tačno u čemu je problem sa Red Wedding scenom, zašto je meni delovala "meh":

The analysis of this episode has been one of the most difficult such pieces I’ve written to date, and perhaps it’s no surprise. After all, the key event of the episode was the very last thing George R.R. Martin wrote in A Storm of Swords, and he has called it the most difficult piece of writing that he has done for the series. The level of anticipation for this episode among those “in the know”—readers of the novels and spoiler-hounds alike—has been extraordinary, and we can only imagine the reactions of those who came to the episode with no real inkling of what was to come. “The Rains of Castamere” set out to achieve certain things, and without a doubt it achieved them. It’s an effective episode, a good episode, and if there are quibbles about some of the direction and acting, they’re few and relatively minor, and I think we can dispense with them. Lets take it as given that many of the stories are handled well, and are well-acted (a special nod to David Bradley as Walder Frey, who clearly seems to relish the role). But for this analysis, I’d like to focus just on one thing, becomes it looms so large and for many viewers will define the episode in its entirety: the Red Wedding.Here’s the thing that makes writing this so difficult: even though it’s an effective episode, it’s not really a great episode, unless one wants to define greatness by the level of shock value and nothing more. There’s nothing bold, as such, in what the show does at the Twins: it’s George R.R. Martin who was bold. But the real genius of the Red Wedding is not the “what”, but the “how”, and in this, Benioff and Weiss seemed to step back rather than attempt to equal or match it. “Blackwater” was a triumph in terms of scale and production value, but it also featured one of the show’s tautest, most well-honed scripts and some inspired performances, things that helped elevate it beyond mere spectacle. “The Rains of Castamere,” on the other hand, does not rise above the shock value—it takes it as its destination and sees no reason to go further.Those who’ve read the books will surely recall that part of the power of the Red Wedding was the atmosphere and the nagging feeling that something, somewhere, was not quite right. This uneasy feeling is a hallmark of the entire chapter, not just the final pages. Martin builds tension from the opening line (“The drums were pounding, pounding, pounding, and her head with them.”), leaving readers aching for the release—the end of this awful, uncomfortable wedding—and then when the resolution comes, it’s in the cruelest way possible. It bears recalling that Martin isn’t just an award-winning writer of science fiction and fantasy, but also an award-winning horror writer, and it shows within this chapter. What sets apart that final Catelyn chapter from (almost) every other chapter in the series is that Martin seamlessly slips into the horror mode. From start to finish, the chapter is filled with horror tropes: a feeling of growing dread, an uneasy focal character who can’t quite pin down what’s wrong, an environment that feels threatening in some inexplicable way.It’s not as if Benioff and Weiss tried and failed to capture the mood, the sense of the wedding as being the wedding from hell—an ungracious host, bad food, bad music, too many people in too close a place—and then segueing into the bloodiest wedding imaginable is. Instead, the executive producers/writers eschewed the atmosphere entirely. Where in the novel it’s a plot point that the musicians are terrible, they actively go with the musicians being quite capable (perhaps because drummer Will Champion of Coldplay was among them?), and the gaiety seems quite unforced. Even Catelyn is in good cheer through much of it. Was it a lack of ambition? A belief that going from the extreme of a joyous atmosphere to an orgy of murder is more powerful than mounting dread and uncertainty? A need to simplify and shorten?There seems to be something hollow in “The Rains of Castamere”, and I believe it comes down to this choice to reconfigure the event into a “Big! Shocking! Moment!” that’s really at fault. What makes one react even more strongly about this failure to really go all out is that from day one, Benioff and Weiss have hinted that this event, the Red Wedding, has been the thing they’ve most wanted to depict on the screen, that if they could take the show far enough to get there, they would be happy. And yet when the moment finally comes, they take the easy way out: they simply hid their hand, as if any premonition from viewers more than a minute or two before the slaughter began would somehow be a failure and ruin the “surprise”. It’s now an “event”, little more. The texture of what the scene could have been, the thing that could elevate it into true greatness rather than an inevitable entry in one of those tedious TV’s 20 Most Shocking Moments-type programs, is gone.There’s an orgy of violence, yes, there’s a brutality, yes, but all these things are relatively easy to do on the screen if you have the money and the extras for it. The dread and unease that builds throughout—those are harder things to achieve, a matter of establishing atmosphere, of subtly urging viewers into a position of tension. While the Red Wedding of the show was effective as a “shocker”, it simply doesn’t live up to what it might have been, to what Martin put on the page and which readers went through. Those who are blessedly ignorant of the fiction will doubtless be over the moon with paroxysms of shock, and perhaps they (who are the vast majority of viewers, after all) are all that really matters. But it could have been so much more than it was. They aimed low and so, armed with Martin’s masterful storytelling to provide the basic outline, they passed the bar with some ease. But they did not aim high, and at the end that failure in ambition is something I fault them for.Emblematic of this, in a way, is the fact Catelyn Stark is again given short shrift: though the choice of having her threaten and kill Lady Frey was inspired (thereby skipping the need to introduce and explain Walder Frey’s lackwit grandson Jinglebells), the choice to have her become catatonic on the end lacked the pathos of her fate in the novel. The character has sat silent or ignored so often in this season (Robb’s consultation feels like a sop for those who rued the show’s depiction of Catelyn, but it’s all rather too little, too late) that catatonia simply feels like just another instance of silencing the character. Why avoid the grief-stricken agony, the blood, the madness? Why pull back from a moment fully as gruesome and horrifying as all the bloodshed that came before? There’s a reason that Catelyn’s final chapter was the last one Martin wrote… and we’re fairly certain it had a great deal more to do with what Martin was about to do to one of his POV characters than to Robb and his battle companions. For those who hoped that at last the show might really given Catelyn Stark her due as one of the central characters—not necessarily in terms of plot, but certainly in terms of themes and setting of tone—we have to think there’ll be some disappointment.But so it goes, on Game of Thrones. They have shepherded another season almost to its close, and if it is sometimes a shadow of the material on which it is based, at least it’s an effective shadow, able to get the job done (usually) thanks to its grand production ambitions and less-than-grand artistic ambitions.

Toliko su se zaleteli na taj shock value i nasilje i izbodene trudnice da su preskočili sav buildup, građenje atmosfere, čak ni Robove poslednje jebene reči nisu adekvatno preneli. Povelika šteta.

[Razzmatazz]

Još i podjebava...

[Amelija]

Toliko su se zaleteli na taj shock value i nasilje i izbodene trudnice da su preskočili sav buildup, građenje atmosfere, čak ni Robove poslednje jebene reči nisu adekvatno preneli. Povelika šteta.

+10¹⁰To sam ja želela da kažem onim "pa barem je Roslin mogla da zaplače majkumu <_<".Jedino ako im je upravo bio cilj da što više iznenada šokiraju (a inače to mi je palo napamet i povodom promene Robove žene, da su to i zbog toga uradili, kao eto neka tamo, pa još trudna, pa ljubav levo desno, a ne "morao je da se oženi nekom Lanisterovicom (!) zbog časti (!) pa ona ni ne dođe na strašnu svadbu (!)" itd)

[porucnik vasic]

Ма бре одлична епизода. Једна од најбољих откада је серија почела. Ја се баш изненадио. Иначе Дебели је тотално недуховит.

[Weenie Pooh]

Jedino ako im je upravo bio cilj da što više iznenada šokiraju (a inače to mi je palo napamet i povodom promene Robove žene, da su to i zbog toga uradili, kao eto neka tamo, pa još trudna, pa ljubav levo desno, a ne "morao je da se oženi nekom Lanisterovicom (!) zbog časti (!) pa ona ni ne dođe na strašnu svadbu (!)" itd)

Definitivno im je to bio cilj, ali oko Robove žene čini mi se da su propustili potencijal za (manje klišeiziranu) ljubavnu priču u knjizi - kasnije se ispostavi da Jayne Westerling nije imala pojma šta njeni roditelji i Lannisteri planiraju, zašto su je namestili Robu, dete mislilo da su stvarno lojalni King in the North iz nekog razloga. Ako su hteli da nas smaraju Robansom™, mogli su komotno da zadrže sve kako je u knjizi - i ranjavanje, i razdevičavanje, i shotgun venčavanje, da njih dvoje imaju interakcije i ljubavisanja koliko su imali ovako, samo da u pozadini bude njena scheming majka. Zar je to bilo previše produkcijski teško? Zar je bilo netelevizično? Zar je bilo kom gledaocu stvarno bolje da sluša Talisu i njenu Baywatch: Volantis pričicu?Takve promene mene najviše nerviraju - one koje ne mogu da razumem. Kad znam da su X verovatno izmenili zbog Y, može da mi se ne sviđa ali nije strašno. Ovako... prosto ne razumem šta im je bila namera, šta je Talisa doprinela što Jayne Westerling nije mogla?BTW, prilično sam siguran da su hteli da drže options open do nekog trenutka, da se možda eventualno ispostavi da je Talisa=Jayne. U onoj epizodi kad Rob kao odlazi da pregovara sa nekim lanisterskim bannermen (da bi dao prostora da Catelyn prinudno pusti Džejmija) on pozove Talisu da pođe sa njim, a njena reakcija je u prvom trenutku onako nesgurna, pokuša da napravi neki izgovor, nešto. Tada sam pomislio da će je u sledećoj epizodi možda prepoznati ti lanisterski plemići kao vesterlingušu, pa će biti veliki reveal... Ali ne, u sledećoj epizodi samo vidimo nju i Roba kako se polaaako vraćaju u kamp pričajući. Pešice. U sred rata, u neprijateljskoj teritoriji, kralj je sjahao i ostavio pratnju podalje od sebe da bi se prošetao livadama sa nekim misterioznim devojčetom Kako je to bolje za TV?! Za koga, zašto, na kojoj planeti? Edited June 6, 2013 by Weenie Pooh

[Razzmatazz]

Gadan deda rasteš.