Battlestar Galactica fans will be familiar with this quote “All this has happened before and it will all happen again.” Well, it will all happen again. NBCUniversal announced today that it has hired Sam Esmail, the Golden Globe winner and Emmy-nominated creator of the Mr. Robot and Homecoming, to make the Battlestar Galactica reboot for the new Peacock streaming platform, which begins operations on April 2020. Esmail will be the executive producer of the series with Chad Hamilton, a member of his Esmail Corp. companies. NBCUniversal has not revealed any other details about this new series. The news comes on the anniversary of the release of the original Battlestar Galactica series.
The original Battlestar Galactica debuted in 1978, from creator Glen A. Larson. The series starred Lorne Greene, Richard Hatch, and Dirk Benedict and went one season before it was canceled. In the 1980s, fans managed to get the series updated for another 10 episodes of the 1980 Galactica series.
Battlestar Galactica was accompanied by the Twelve Colonies of Humanity and their protracted war against the robotic race known as the Cylons. When the Cylons ended the war with a secret attack that destroyed the colonial planets, the last remaining capital warship, Battlestar Galactica, was forced to lead what was left of humanity in the search for the lost Thirteenth Colony, Earth.
That short-lived series has been rebooted for new generations by Star Trek screenwriter Ronald D. Moore in 2003. Moore wrote and produced a two-part mini-series for SyFy. The mini-series served as a pilot that proved successful enough for SyFy to launch the series in 2004. That series has gone on for four seasons and is still one of the most successful SyFy original series in history. The stars of the series were Edward James Olmos, Mary McDonnell, Katee Sackhoff, Jamie Bamber, James Callis, Tricia Helfer, and Grace Park. The series resulted in a one-season spin-off prequel series Caprica and a web series called Battlestar Galactica: Blood & Chrome, which was later made into a TV movie.
There is no mention of how this upcoming reboot series will affect the Battlestar Galactica movie under development from director Francis Lawrence. In December 2018, the film hired a new screenwriter. There has been no new news since.
What do you think of the NBCUniversal reboot of Battlestar Galactica and another streaming platform?
What to learn more about the Game of Thrones Last season go to Game of Thrones: Season 8 Episode 4: The Last Stark.
8/25/2019 0 Comments
One of Marvel's most intriguing Phase 4 projects is Loki, a series created for the Disney + streaming platform starring Tom Hiddleston as the favorite Asgardian god of deception. At San Diego Comic-Con, the studio confirmed that the series would continue right after Loki's stealing Tesseract in Avengers: Endgame and follow the much-loved deity through time. Now, thanks to an interview with Hiddleston on MTV News, we know that the first season of this Loki series will consist of six episodes, each lasting exactly one hour.
Hiddleston casually mentioned the number of episodes while talking about the opportunity he got to play that character, which first debuted in 2011, and Hiddleston though he ended up playing that character in Thor: The Dark World, and now he's got an opportunity for another “six hours.” The actor also mentioned that there will be humor throughout the series - which is not so strange when you have Rick & Morty screenwriter Michael Waldron directing the series - and that Loki begins the story in the vicious state of mind he was in Avengers of the movie by Joss Whedon before he was introduced to a completely new evolution.
"It was the most interesting part of the process," Hiddleston says, essentially taking the character he went through in one development over nearly a decade and re-developing it from scratch. That challenge involves some "terrible opponents."
"I feel like I know him, I've been playing him for the last 10 years and it's crazy for me. By the time the series comes out, I will be 40 years old. When I was selected, I was 29, which is a big part of my life ... but the point is, there is a feeling like 'I know this character now, I feel the viewers know him too.' Acting him and playing him truthfully, but presenting him new challenges that then have to change it in different ways is the most exciting aspect of it. You have his specific powers, his intelligence, his betrayal, his mischief, his magic, and then seeing him come across as envious opponents he has never seen and knows. "
Check out the full interview below. The part about Loki starts around 1:26 pm and also contains a very interesting anecdote about Josh Brolin apologizing for killing Loki.
And while the focus on the new He-Man series has been through the big screen so far, it came as a surprise this weekend at Power-Con, a convention dedicated to all things He-Man and She-Ra, as Mattel announced that Clerks and Red State director Kevin Smith is working on a new He-Man series for Netflix called Masters Of The Universe: Revelation.
This is the first announcement of a new series and the only thing that has been revealed about it is that it will continue exactly where the 1980s animated series stood, unlike the recent Netflix reboot of She-Ra And The Princesses Of Power. It will focus on unfinished stories and Powerhouse Animation, who worked on the Castlevania series, will provide the footage, with Smith being the showrunner of the series and journalist / TV screenwriter Marc Bernardin working alongside him.
"I am eternally grateful to Mattel TV and Netflix for the trust they have given me not only with Greyskull but their entire universe," Smith said in a news release. "At Revelation, we continue exactly where the classic era ended to tell the epic story of what could have been the last fight between He-Man and Skeletor. Brought to life by the best Powerhouse Animation character designers, this is the Masters of the Universe story you've always wanted to see as kids! ”
The series will be produced by Mattel TV VP Rob David, with a team of screenwriters that include Eric Carrasco (Supergirl), Tim Sheridan (Reign of the Superman), Diya Mishra (Magic the Gathering) and Marc Bernardin (Alphas).
The Masters of the Universe franchise continues to expand. The third season of the She-Ra animated series debuted on Netflix earlier this month, with the live-action Masters of the Universe movie currently in the works with Noah Centineo as He-Man.
Masters Of The Universe: Revelation series has no release date yet.
Netflix will introduce a large number of new fans to the world of The Witcher later this year, but for those unfamiliar with games or books, the concept of Witcher may not be completely clear. Henry Cavill will bring Witcher, known as Geralt, to life in this highly anticipated series, and has recently been on the panel alongside Lauren S. Hissrich, Yennefer actress Anya Chalotra and Ciri actress Freya Allan at San Diego Comic-Con. ComicBook.com was on the panel, where Cavill gave a perfect and succinct overview of what a Witcher is, starting with the chance that someone who goes through the ordeal will survive.
"Most of these kids don't survive, like 1 in 10," Cavill said. "They travel the world hunting for monsters for money, and that is their sole purpose, but they are often rejected by the world because they should not have emotions ... but ultimately they should be a bunch of wicked ones who kill monsters."
Hardly anyone could explain it better than him, but he also clarified the lack of Witcher's emotions, describing it more as a choice rather than something they absolutely must live with.
"It's not that the Witchers don't have to make moral decisions, it's a myth that they don't have emotions, but that's what drives them when they ask for money for monsters, and if they don't have feelings, they can negotiate as much as they want and someone can't use the line 'my kids ',' Cavill said. "Geralt is much more than that. He has this hard exterior because he believes he is the way the world is, but the truth is that deep down there is this man who believes in what the world can be like. ”
The official synopsis of The Witcher series can be found below.
"Witcher Geralt, a mutated monster hunter, struggles to find his place in a world where people often turn out to be more sinister than the monsters themselves." Daniel and Jason Brown reveal a little more, showing that the series follows an unconventional family who "come together to fight for truth in a dangerous world."
The Witcher series stars Henry Cavill (Geralt of Rivia), Anya Chalotra (Yennefer), Freya Allan (Ciri), Jodhi May (Calanthe), Björn Hlynur Haraldsson (Eist), Adam Levy (Mousesack), MyAnna Buring (Tissaia). Mimi Ndiweni (Fringilla), Theresa Wilson-Read (Sabrina), Emma Appleton (Renfrey), Eamon Farren (Cahir), Joey Batey (Jaskier), Lars Mikkelsen (Stregobor), Royce Pierreson (Istredd), Maciej Musiał (Sir Lazlo), Wilson Radjou-Pujalte (Dara) and Anna Shaffer as Triss.
The Witcher is coming to Netflix in late 2019.
Check out the first teaser trailer of The Witcher series:
Although Marvel is the absolute king of connected superhero universes and epic crossover events in the movie, DC and the CWev Arrowverse universe still hold their territory on small screens, which is why it is not surprising that they do not intend to stop with this television universe anytime soon.
The Arrowverse came to life in 2012 with the launch of the Arrow series, and its expansion began two years later when the series The Flash began, and a year later was joined by Supergirl and Legends of Tomorrow. This fall, the fifth Batwoman series will launch, and two animated WEB series has been created as part of this universe, with the third being in the early stages of development.
Although CW, at least for the time being, is not yet entitled to use the most important DC characters like Batman, Wonder Woman or Aquaman, they still have a very large and colorful range of characters whose stories can be told as part of this universe, but maybe even this new series it won't be about a new character, as there is even mention of a spin-off of Arrow where Mia Smoak (daughter of Oliver / Green Arrow and Felicity Smoak), played in the secondary plot set for the future in the seventh season of Arrow by the excellent Katherine McNamara, who will also return in the upcoming eighth season, which will also be the final. CW President Mark Pedowitz said this spin-off was possible but also looking for new characters to expand the universe:
"The fact that we introduced Arrow seven years ago, who would have thought he would have created six series, the entire universe he was able to create. It's a pretty remarkable feat. "
Arrow will end this season after the Crisis on Infinite Earths crossover, which will be the largest crossover ever and a kind of Endgame, the culmination of what has been so far and an introduction to the future of the Arrowverse.
This fall, October 6th, will have its Batwoman premiere, which Pedowitz has announced:
"It's the next step to do something. We believe that these franchises will continue this universe for many years to come, so it is important to ensure that you have characters that will keep fans coming back. How it will play out, time will tell. ”
Arrow begins its final season on October 15, and the Crisis on Infinite Earths crossover will begin December 8. Which characters would you like to see more in the Arrowverse?
A thin line between good and evil. The second season of the mysterious and occultly charged Netflix series Chilling Adventures of Sabrina continues the classical battle of Sabrine Spellman (Kiernan Shipka) between the world of mortals and supernatural dimensions. In this season, she completely abandons the world of mortals and begins to get to know the world to which she truly belongs. Written in the Book of the Beasts, leaves behind friends, classical education and begins the process of self-awareness and mastering magical practices at the Academy of Unseen Arts.
The plot becomes compromised, and the main story involves several side-things that reveal the characteristics of the main and secondary characters, their aspirations and ambitions, and everything they are ready to do so. Scrubbing with dark forces is part of everyday life, in order to fulfill selfish desires. Sabrina is often in situations where she could help her friends, those who are mortal, of course, but she does not do it all the way. Helps, but does not allow them to finally rely on her skills, but leaves them to decide for themselves what is best for them. Some people disgrace her, but at the end of the day, they have to learn the hardest lesson that no one but us can pull the ends.
What is particularly intriguing is the feminist aspect and the aspect of personal rebellion. Resisting Blackwood's (Richard Coyle) misogyny, sexist prejudice, chauvinistic attitude, and a stable hierarchy will at once make each of the protagonists open his eyes. The greatest resistance, along with Sabrina, will be provided by Mrs. Wardel / Lilith (Michelle Gomez), who somewhat becomes the main star who succeeds in overshadowing Sabrina himself. As the primary companion of the Lord of Darkness, his adherent, and mother of the demon becomes a neglected, manipulated victim for thousands of years. The king of deception filled her head with lies that she would appoint her as a chess champion, and in an unbridled desire for power, she became a faithful, manipulated maid who would never become anything more. In the end, he unites forces with Spellmans to deliver the last blow and shows gratitude, which somehow actually diminishes the image of her evil nature.
The second season will also throw a different light on Ros (Jaz Sinclair), Susie who will become Theo (Lachlan Watson), Lucy Davis, Miranda Otto, Gavin Leatherwood and Prudence (Tati Gabrielle) completely new roles. Although each of those mentioned will have only short self-facing scenes, Sabrina will not be the only one who has to face the problems that hinder everyday life. Ambrose (Chance Perdomo) and Prudence, in their aching paternity figure, will forget about the real family who always stood by them.
The scenery is extremely detailed and elaborated. In every scene, especially the scenes of the interior, there are at least a dozen details, better to say the symbols to which we certainly would not pay attention. It's enough to pay attention to works of art that are the reminiscence of occult symbols and practices throughout history. It seems that the series was carefully prepared and theoretically well covered as far as the religious spectrum is concerned.
The maturation, the rejection of what children are, the sexual maturity, the confrontation with life roles and the overcoming of life barriers are skillfully incorporated into the tissue of the series, and although many criticize the length of this series, I personally did not mind it.
As announced, the third and fourth season of the Chilling Adventures of Sabrina series, I hope to overcome expectations that are not modest.
Blasphemous scenes, twisting of Bible stories, similarities or even details from Dorian Gray, cult TV series (Twin Peaks), occult background (grimoari, occult books) and scenes shot from a dark horror movie typical of horror films will surely delight audiences.
5/13/2019 0 Comments
The CW television network announced this week that superhero Batwoman will get their TV series. Soon, the first video announcement followed. This DC-even hero would embody an Australian model and actress Ruby Rose (John Wick: Chapter 2) who has already starred in last year's Elseworlds TV show during which she appeared in the Arrow, The Flash and Supergirl series episodes.
The Batwoman series will follow a superheroine who, following the disappearance of her mentor Batman, is trying to stop the threats to Gotham City - from street criminals to diabetic super defenders. Caroline Dries (Smallville, The Vampire Diaries) will lead the screenwriting team of the series. In addition to being the executive producer of the series, the comedy writer, film screenwriter and producer Geoff Johns (Aquaman, Wonder Woman 1984), a veteran of the Game of Thrones series David Nutter and the legendary TV producer Greg Berlanti.
It is precisely Berlanti the spiritual father of the so-called Arrowerse - the common TV universe of DC heroes whose construction began in 2012 with the superhero series Arrow. Under Berlinen's lead and in the acting performance of Stephen Amella, the second-class DC's super-hero Green Arrow was transformed into Batman's ersatz. The series's success brought The CW to a series of other superhero series, followed by The Flash (2014), Supergirl (2015), Legends of Tomorrow (2016) and Black Lightning (2018).
Although it is not yet clear exactly when Batwoman will arrive on small screens, it is assumed that he will join other DC's TV heroes in the fall of this year.
Gam is returning to its roots.
HEAVY SPOILERS FOR THOSE WHO HAVE NOT SEEN
After the intense and tense third episode in which the dead beat the dead, we can finally get some sleep. The Night King is dead, as his entire army. That's exactly what the creators of the series wanted - to take the dead out of the focus to commit themselves to the conflict between the living. We did not find out anything about the history of the army of the dead, nor about the motivation of the Night King. The seven-year-old hippopotamus was completely demolished in an episode. It seems that the first spinoff will offer some answers, but what is important at the moment is GoT, which every week does not surprise, fascinate and occasionally disappointing.
The fourth episode, in my opinion, is the best in the eighth season. After many hurdles in the previous one, this returns to the roots. Excellent dialogues and acting, twists and political intrigues. From the first scene I was hissed (John's speech - an hour). The first five minutes had a greater emotional impact than the previous episode.
After a long time, Tyrion is in the lead role in one episode. Peter Dinklegg is awesome in the role of Tyrion, but how to forget how much he can contribute to an episode. Thyron is loyal to Daenerys, but we can see how this dedication is tested when Vary offers a number of arguments why she would be a bad queen (and Varis is another character who returns to old glory in this episode).
Their conversation focuses on issues that have been ignored in the last two seasons. How should the true ruler of Westeros look like? Is it better to be a man or a woman? Can two sit on the throne? More importantly: loyalty to the family or to the kingdom (realm - I do not have a more suitable translation)? In these conversations, we can feel that the solution will not be completely positive. Tirion expresses optimism ("Why cannot both of them rule?") But he himself does not believe in that statement. Victims must have and must make everyone with their choices. Varis is the protector of the kingdom while Tirion is loyal to Daenerys. It seems that it puts the two on the opposing sides of the chessboard.
John is facing similar difficulties. John is the most sophisticated character in the series, which completely resembles his "father" Ned. On the one hand, he loves Daenerys and will do everything to preserve the loyalty to her. On the other hand, it can not lie to Sansa and Aria for his true descent. Ned lived for years with the secret only to save John's life and preserve peace in Westeros. But John cannot live with the same secret without sharing it with his half-sisters. The same information spreads like a plague. It makes John the target, for good or for bad. But that's the choice he made himself and who he will have to live with.
The least favorite character in my episode was Daenerys, but I think that's the director's point. Daenerys is more like her father (the Mad King), but for bad reasons. It moves away from everyone and is thirsty for power. He must have the throne just for himself, at all costs. The only loyal counselor to whom he trusted with all his heart was Jorah. Another such character was Misendei. Now both of them are dead, and relations with John begin to cool down.
The ambush in which Danerris and her little army fell, was the main surprise that was devastating to one of the dragons (Rhaegal). How did they not notice Eron's fleet and how could he have been so precise and not once to get out of the first three attempts? Why did Searsi (who, contrary to the speech of Tirion, really turned into a monster) simply did not finish down Daenerys and her poor army when they were in front of her gates? These are questions that we need to ignore.
Nevertheless, the battle between the living reaches its climax. There are more questions left, but if you keep the spirit of this episode I expect to receive satisfactory answers.
And she's here! The episode in which we had the opportunity to see the event announced as the "battle of all the battles", an event that the spectators of the Game Throne series have been waiting for almost ten years, and readers of "The Song of Ice and Fire" even longer. The events in which our heroes finally greeted Winter and confronted the legions of the Night King. Indeed, this was an episodic no-one ever seen, probably the most spectacular event ever seen on small screens, an episode that reached the movie standard, at least as far as visuals are concerned. Expectations were great, especially after last week's episode that impressed us and reminded us of the best moments of the series; episodes in which the roles are further elevated. Unfortunately, as for the complex narrative, as well as the performance of the action after eight seasons, the episodes have subsided. Because Winter, which was supposed to threaten Westeros and its inhabitants, ended as a snowball, while the chaotic battle ended with a whisper.
The battle of all the battles ...
And so it started well. The Long Night began preparations for the battle, dominated by the tensions of the upcoming apocalypse. Instead of looking at this preparation through the eyes of experienced warriors, viewers are placed in the skin of a person who is at least ready for such an event - Samwella Tarly. So at the meta-level, we could experience all the horror of conflict for which both Sam and the viewers are unprepared. This prospect also enabled us to gain insights into the defense strategies of the Shrinking, the settled regiments of the North Army and the Targaryen, through the trenches filled to the stairs, up to the ramparts of the fort. Ironically, because of this perspective, viewers only had a brief opportunity to see all the weaknesses of this strategy ... the weakness that will be felt in the next few minutes of the episode. As warriors build up, those who can not fight, including Tyrion, are sent to the "security" crypt. And this decision is ironic, which we will soon see. Tensing has also contributed to the darkness, which will become a trademark of the episodes, in which both Sam and spectators can hardly have a chance to figure out what's happening around them. At the last moment, before the Legion of the Night King goes into their attack, the Lives of the Living gets so much hope for the arrival of the Red Woman. Melisandre was somehow broken through the ranks of the Dead, and he came to "bless" the Drakes of Dothraki.
Unfortunately, no matter how good and tense the episode was the first scene, and as promised, this is the moment in which the action moves downhill, and in which spectacle goes beyond logic. Because the battle that follows is not only chaos but also a confirmation that scriptwriters David Benioff and Dan Weiss without a literary script are unable to grasp the grandeur and complexity of the original narrative. The first point is the breakdown of the strategy. If there was any hope that we would see a meaningful battle, the Dothraki cavalry was safely denied. Juriš is a visually spectacular scene, which we have to thank for the excellent directing of veteran Miguel Sapochinik. It is a frightening and effective way to see how the flames burn in the darkness - while the legions of the Dead literally eradicate Dothraki from the face of the earth. It is commonly understood that such a decision, the elimination of the horsemen, has been helped by the budget concern, which is, though large, still limited, and should not be overlooked by the complications of horses in the dark. But it is impossible to ignore the fact that every man with a sense of reason would see this tactic as something pointless. Even if Dany and Jon were not capable of war planners, it would have been expected that someone, perhaps Ser Jorah Mormont (who was running an assault!), Would object to such a decision. Scene simplicity does not help you to follow the launch by launching a missile catapult located in the first row (!). Not only is the scene unimaginable, but such an inexpensive elimination of the best horsemen that Essos and Westeros have had a chance to see irretrievably harmed all that we have learned in past seasons. A and eliminate one of the two elements on which Dany based his power. Can Dany still call Khaleesi?
Loss (all?) Dothraque disrupted the whole strategy since Daenerys was shocked by this loss (though, the question arises, what did he expect?) Decided to leave the command post and join the Battle of Dragon. Poor Jon (who, as he will show, still knows nothing), there was nothing left to join his ally. As the dragons get into the air, the warriors, demoralized by the loss of the cavalry, are saved for a fight with the legions of the Dead.
And this would be a fatal crash, it is shown after Drogon ignited the first line of the striker. The dragons and their fire are indeed a strong trump for the Living, as recognized by the White Walkers, who call for a snowstorm. The storm brings low visibility, which additionally strengthens tensions, and brings chaos to battle. Also, such conditions allow the Night King an individual attack on Dany and Jon, denying their numerical advantage. This is also a problem for viewers because of poor visibility we are unable to understand what is actually going on, and where it happens, which weakens the impression of the scene itself.
The same applies to events on earth. After being left without air support, the Hierarchs of war retreat behind the trenches, while the Dead unhurriedly advance. The loss of dragons, prevented the execution of the next phase of the battle, because without the dragons the trenches cannot be burned, which allows the unhindered passage of the enemy. There is once again a question of the meaningfulness of the strategy because relying on only one element in such a fateful battle is very questionable. Luckily, Melisandra is not in vain, and after a few attempts, she manages to invoke R'hallor's help, and the huge flame wall stops the Dead at last. Well, not for long. The dead are, um, dead, so they do not need long before their numbers show that any strategy is superfluous. Once again, the Living is forced to pull, this time behind the walls of the fort, while the Dead cross the flame and tighten the ring. Even the Gray Worm, a tried warrior, loses his balance and orders the withdrawal of the Unholy. So in a very short period of time, we ended up with the Lives practically pushed against the wall, because there is no room for rest anymore. This provides an opportunity for another spectacular scene, while we see that the flanges of the Neo-Shapes break into the unstoppable River of the Dead, which now descends along the ramparts, and arrive at the fort. However, once again the question of defense arises, because the defenders on the ramparts are relatively small, and it seems that the potential of the obsidian, ie, Dragon glass, neglected.
In any case, the breakthrough within the walls of Ostrozimlja means the end to the security of his defenders, and the battle turns into uncontrollable chaos. This gives us the opportunity to see the scenes of heroism, as well as the first serious losses on the part of the Living, such as the sacrifice of the Grievous Eddie to save Himself. Although a strong scene, the question remains why Sam, who has been portrayed as a person who was unable to fight from his first appearance, was not sent into the crypt, and thus became a danger to the people around him, as confirmed by the fate of the unfortunate Black brother. A much more suitable end is the small Lyanna Mormont, who showed that the size was not everything, and sacrificed to eliminate one of the greatest nuances of the Night King, the undead diva, and thus left us as a hero. Unfortunately, the sense of mortal danger essential to enriching the scene was missed in the case of other characters such as Jamie, Brienne or Tormund, who thus became background characters protected by a landmark armor surrounded by hundreds of Dead.
A rare exception was Arya, who turned the episode into the main character of the episode, as the action progressed. If Arya, Nobody, an experienced and cold-blooded warrior without a face, we could see her fighting with the Dead, as well as in the acrobatics. But her best scene and one of the best scenes of the episode begins after Arya is hurt, and she is forced to retreat from the upcoming hordes. Taken into the corridors of the fort, Arya turns from the hunter to prey, and the spectacle and action of the battle are replaced by the anger of survival horror. This is an interesting and unexpected, and certainly a welcome subversion, since the well-known huts of Ostrozimlje, which we had the opportunity to watch over the past seasons, now get a new perspective. Instead of the favorite characters, the Dead are wandering in the corridors, and the library becomes a zone of mortal danger, while Arya sneaks with shadows. After the injury, she is no longer an unstoppable killer, but a frightened little girl who is aware that the danger is everywhere around her. Her only way out of this high-risk situation is an escape.
If Death was to be ruled by Ozroziml, we can see it at another closed location, wherein the crypts of Sansa and Tyrion we hear the screams of unfortunate defenders on the other side of the massive door. This is also an opportunity for a rare contemplative moment of the episode, where two characters recall past, agreed marriage, and some calmer times. The question arises as to whether this is an honest conversation, or does Sansa, even in this situation, think of a post-battle period, and is trying to get the Queen's Emperor to his side?
Trapped in the crypts of Ostrozimlja, Sansa is powerless to help her sister. Fortunately for Aryu, in her help, Beric and Dog arrive in the last minute. After Beric is sacrificed to save Arya, she encounters Melisandra. The red woman, who presided over this meeting, now explains Aryi, that Berisha's resurrection had one goal - this moment - rescue Arye. Melisandre is a Nobody in Arya reminding her of the words of her old fencing instructor, Sylvia Forella ("What do we say to the god of death?" "Not today"), while Arya goes to sprint.
... and Winter came and passed ...
No less drama is happening in the sky above Ozrrozimlja. The snowstorm separated Jon and Dany, which the Night King used. Viserion attacks Rhaegala, and there is a fierce battle in the air. Finally, Jonah rescues Dany, who throws out the Night King from Viserion, and he falls to the ground. Of course, the fall from high altitude does not strike the Night King but leaves it in a vulnerable position to Dany finally complete the plan. Namely, the whole plan is reduced to the dragon's flame, since the Night King is one of the White Walkers (who are vulnerable to fire). But as Dany's shocking revelation reveals, this is not a common White Walker, and after the fall of Drogon (who is forced to escape in the midst of the attack of the Dead), Dany also ends on the ground, while the Night King moves smoothly toward Ozrozimil and his goal: Without a dragon, Jon remains, after he unsuccessfully attempts to stop the leader of the Dead, and he and the viewers watch powerlessly from the worst situation to a pure horror. Because the Night King raises dead defenders to join his legions, outside and in the middle of Ozrozimlja (!) This leads to an even greater massacre, because there are already many legions, now unpredictable, and the defender is getting smaller.
And this time, no one is sure what Tyrion and Sansa reveal after the dead is in the crypt (logically). But there is no time to question the "ingenious" choice of shelter because the Dead immediately turn to attack. Unfortunately, the potential of this situation has been weakened since all the main characters are safe, while the unfortunate ones get redshirted. As Jon hides from the wounded but angry Viseryon, the Night King, surrounded by the White Walkers, enters Godswood, and after a brave but at the peril of the condemned resistance of Theon and his Iron, it shows that he who is dead can still die. Although Theon's suicide assault was unnecessary, the last forgiveness with Bran was a powerful scene, as well as the much-desired forgiveness of Prince Ostrozlim. The Theon's loss was not the only major loss in the last moments of the battle, since the end of a brave and faithful Ser-Jorah, who sacrificed himself for Dany, after eliminating the hordes of the Dead. Despite the heroic resistance of all our heroes, the Night King has won, to the point of a helpless Trooke crow. But despite his superhuman power and supernatural powers, the Night King did not count on one weakness. And this weakness is no less than Arya, who at the last moment saved her with a leap to the Vrana and thus Live, and drew the dagger into the Night King. This act did not eliminate only the leader of the Dead but sent the White Walkers, Viserion, and Legions of the Dead into the debris. And thus the battle was brought to an end, the great losses of the Living, yet with their victory, while the Winter ended, and before it started. We do not know if this really was R'hallor's will, but it seems that it is, since Melisandra, after this victory, decided to go to the snow, and before the shocked Ser Davos, removed her magic necklace, and joined the dead.
We do not know if this really was the will of R'hallor, but it seems that, since Melisandra, after this victory, decided to go to the snow, and before the shocked Ser Davos, removed her magic necklace, and joined the dead.
The battles that follow
"The Long Night" was a really impressive episode as far as visuals are concerned. Unfortunately, this was not the case for the narrative, nor for the decisions of the episode, which directed the "Throne Game" to what might be a weaker end. What is the damage, because the series had the potential, which in the last episodes was increasingly unused, that now in what was a monumental moment, it remained unused. The response of some viewers to these reviews will be a different nature and narrative of a series than the one from books. It would be true that the series itself has been countless times emphasized and announced the conflict with the Dead as a central conflict. This great and important event, which was expected for years and earned the whole season, began and ended in just one episode, and the idea of fighting for the fortune, the Iron Throne, the shallow and ego-centric clashes of the cease, and that both sides unite in an attempt to stop the danger of the greater of everything seen so far, it has been subverted in the worst possible way. The night king, the mysterious villain, and the biggest threat to Westeros, and to the Living, remained a flat figure, with poor motivation. White walkers did not have the opportunity to do anything except to look silly. Bran, i.e. The crowd of crows is now only a paralyzed boy since his main role is fulfilled. The "battle of all battles" that ended before it started, and the Army of the dead, as long as it was portrayed as a dangerous enemy, caused relatively small losses, if we do not count on a few minor, and a lot of unnamed characters. All the main heroes, survived the battle, ready for the battles that will follow. There is an additional problem since the upcoming conflicts will have much less impressive. And the question is whether there is a Starkov-Targaryen alliance of forces for a new battle, at least if we think about it. Because the battle against the Dead ended with huge losses for the defenders. The cavalry of Dothraki was lost, like most of the Neoclassified, and we had the opportunity to see the vast majority of other warriors.
After this battle, we have three episodes until the end of the season, and the entire saga. What is the end of us waiting for? And can the series continue to maintain the momentum after the central conflict is resolved? Will the "real" end be good enough and satisfactory, after this spectacle? And what will be the future of Westeros, now that the focus is returned to the "Game of Thrones"? It's hard to say. What is certain is that the "battle of all battles" (and thus the "central" conflict) ended ... by the whip.
As far as it was wrong, you burn the flames (cavalry) at night, and their quenching was one of the best visual scenes of the episode.
The visual dragon was also the flight of dragons under the light of the moonlight. Unfortunately, this was one of the few visible moments in this really dark episode.
The dark episodes were probably the result of a budget constraint. At the same time, poor visibility gave the impression of chaos and opacity of the battle, and thus strengthened the feeling of uncertainty, chaos, and disorientation during the battle. It is possible that this was precisely the intention.
The crowd/crowd was mostly passive during the battle, as he wrung into crows. The question is, what was the purpose of this practice, apart from invoking the Night King. Did Bran know that Arya would save him at the last minute?
The arrival of Melisandra was expected. Unfortunately, it was not answered that the Red Woman worked during her stay in Volantis. And did she even go over the Usky Sea? Or was she wandering Westeros?
Where was Davos all the time? After an unsuccessful attempt at signaling at the beginning of the episode, Davos did not show up to the end. What did he do during the battle?
We had a rare and short chance to see the Spirit during the cavalry attack. But what happened to the scary man after the assailant collapsed. We know he's alive since we can see him in the trailer for the next episode.
Varys was also sent to the crypts of Ostrozimlje. This is an expected decision, but also a worrying one. Because it seems that one of the most interesting and rare surviving side characters has now become powerless. We hope to see his role in the next episodes. Although, judging by the way in which ancillary minor characters are eliminated, Varys could leave us soon. By Mel's departure, it seems that we will not reveal what R'hallor intended for his purpose.
Arya killed the Night King with a Valery steel dagger. This is a dagger by which Malopsty originally attempted to eliminate Brana, an act initiated by the war between Starck and Lannister. The dagger returned Malopsts to Bran, who later gave him Sansa. She gave it to Aryi. This is a small but interesting detail, which reinforces the scene, and highlights the important role of the Trooke Crow in resolving the conflict.
Although the scene was striking, it remains unclear whether Melisandra and her decision to take off the necklace and die as a consequence of the elimination of the Night King or Rhallor's decision.
After the elimination of the Night King, is it possible that Arya, Azor Ahai, (Prince) is the promised promise? The whole deal with Melisandra was related to this prophecy, and (after a mistake with Stannis) she was convinced that they were Jon or Dany who were promised. Or did the scriptwriters forget about this?
A small but interesting detail was Missandei who stood in defense of Dany. This was a great opportunity for another powerful scene, between the adviser of the Queen of Zmaj and Sanse, which was missed. At the same time, this is a reminder that whatever the dead are victorious, the old arguments have not stopped.
THE THIRD THIRTEENTH EPISODE OF THIS SHORT-TERM CREATIVE SERIES IS INCREASED FOR TWO WEEKS.
Quietly, in the shadow of other CW's more popular series such as Jane, Arrow, and Supernatural, their last chapter will also see the unusual detective iZombie. The network announced its first trailer for the fifth season whose thirteen episodes start on May 2, ahead of the premiere.
Unfortunately, this little gem of Thomas has never achieved his full potential, but he still entertained us for five seasons at CW. It was difficult to deal with comparisons with Veronica Mars, but that was pretty dishonest to iZombie, a series that did not want to wear that cross on the back. OK, now we are a little overlapping with comparisons, but iZombie is a candy that CW renewed year after year and we enjoyed every second of this wonderful series. What we will miss most is a wonderful cast, while Rob Thomas is waiting for the summer - in the new adventures of Veronica Mars.