Disney doesn't seem to have finished with the live-action version of Aladdin and the company is reportedly talking about putting the sequel to work. During a recent interview with Comicbook.com, Aladdin's producer Dan Lin talked about the possibility of a sequel to a Disney movie. He mentioned the positive reactions Aladdin had with fans and that they did not plan to shoot all the scenes the same as in the original animated version. But obviously, he and the other people behind the live-action adaptation feel there is more to tell here.
Lin didn't want to give anything away, but said they were watching what was done with Disney's home video sequels as soon as possible, and they were exploring which direction to go with the franchise:
"We have now. We, when we made the first movie, wanted to make as good a movie as possible and let the viewers tell us if they wanted to see more. And I would firmly say that the audience wants to see more. They have watched this movie more than once. We have a lot of fan letters where people say they go back and take their families and friends. So we think there's more to tell here. We will treat Tom the same way we treated the original Aladdin movie and we will not make the same sequel to anything that was made before. We are looking at what has been done in the past for home video and this is just more of a story subject to adaptation. Well, without revealing too much, we're definitely exploring where we can go with the franchise. ”
This live-action Disney movie was definitely a huge success with viewers, earning over $ 1 billion worldwide. And while critics were divided about the movie, mostly everyone agreed with the excellent Naomi Scott in the role of Princess Jasmine. So it's very possible that Disney doesn't want to release a potential franchise and a new star like Naomi Scott.
I do not doubt that the same situation will happen with their other successful live-action remake films, such as Lion King.
With Once Upon a Time… in Hollywood coming to theaters (soon to us), director Quentin Tarantino is free to work on a new project, which could be a Star Trek movie. The two stars of Once Upon a Time wish to embark on a new mission with him.
JOE.ie asked Brad Pitt and Margot Robbie if they wanted to join the Starfleet under Tarantino's directorial baton. They responded enthusiastically. "Good!" Pitt said. Robbie went on to say, "I would do anything, anything Tarantino does." Then they joked about not being able to share the scene, talking about Once Upon a Time is their second movie, after The Big Short, in which both, but they do not appear on the screen at the same time.
"Well, that was the idea and then we got together and talked, and we hired Mark Smith, who wrote the script for [The] Revenant," he told presenter Josh Horowitz. "I don't know how much I can say. The only thing I can say is that it will coincide with Chris Pine's timeline. Now, I still don't completely understand and JJ [Abrams] can't explain it to me and my editor tried to explain it to me and I still don't understand ... about something that happened in the first movie that now kind of wiped the board. I don't accept that. I do not like it. I don't appreciate it. I don't know - Is ... what ... I want the whole series to happen, it just hasn't happened yet. No, Benedict Cumberbatch or whatever his name is not Khan, okay? Khan is Khan. And I said to JJ, like, 'I don't understand this, I don't like it.' And then he said, 'Ignore it! Nobody likes it. I don't understand that. Just do what you want. If you want it to happen exactly the way it happened on the series, you can. '”
"The reason I was intrigued by JJ Abrams' version of Star Trek is that I think Chris Pine did a fantastic job with not just Capt. Kirk, then William Shatner's Captain - he's William Shatner, ”Tarantino continued. "He's not just another guy, he's William Shatner's Capt. Kirk. And that's literally, Zachary Quinto is Leonard Nimoy - because they both have the same scene together - he's Spock. They ... hit her. They hit well. ”
What do you think of Brad Pitt and Margot Robbie in Quentin Tarantino's Star Trek movie?
The Future of Phase 4 of Marvel's Film Space is currently underway after the Avengers: Endgame, but it seems that another movie could soon enter the production. According to a new report from Discussing Film, Doctor Strange 2 will reportedly begin recording in January 2020, and production should take place in the UK.
This is partly in line with the statements of the star of the franchise Benedict Wong, who teased us with the film being able to enter production in 2020.
"I know they now have a movie-related scriptwriter, whom I met at the premiere of the movie Endgame," Wong explained. "So I think it could happen sometime next year."
About the sequel is in one way or the other from the original Doctor Strange film from 2016, but very little news has come to us since then. Scott Derrickson and his screenwriter, C. Robert Cargill, are believed to be returning, with a date of release that is believed to be in May 2021. With the fact that we saw Strange in three MCU films after his solo adventure, it will be interesting to see where this continuation will take him.
Of course, there is always the question of the Doctor Strange 2 movie, with recent rumors that Brother Voodoo and Clea will appear in the movie. Baron Mordo (Chiwetel Eiyofor), who in post-loan scenes prepared for the bad guy of this sequel, is long believed to have some return to this film.
"For those who follow the comics, you know that Baron Mordo has a very special story, and that's something we talked to Chiwetel during the making of the first movie," Cargill said in a previous interview. "And part of the reason why Chiwetel wanted to play Mordoa is that he has the final end as a character and that's such a fascinating ending. And I know that whether we are connected or not, Marvel plans to work towards that region and make Mordoa much more than a normal villain, but actually, it will take him to Loki's level of fantastic. That's the goal with him. "
Are you excited about what Doctor Strange 2 might start shooting next year?
After the great success of the first two Jurassic World films, it seems that Netflix also decided to include in the production of prehistoric content. Thanks to a partnership with DreamWorks Animation, this streaming platform works on the animated Jurassic World spinoff series that comes to the platform in 2020, called Camp Cretaceous. The series will take place in the same universe as the two Jurassic World films, although it is not known if any of the franchisees will borrow voices.
DreamWorks confirmed this news today, which ended rumors about Netflix working on some type of Jurassic World Series.
Here's the official synopsis for Jurassic World: Camp Cretaceous, along with the first picture in the series:
"Jurassic World: Camp Cretaceous follows a group of six teenagers who have been selected for lifelong experience in a new adventure camp on the opposite side of the island of Nublara. But when the dinosaurs start destroying the island, the campers are stranded. If they can not reach the outside world, they will have to go from strangers to a friend to a family if they think they can survive. "
"Scott Kreamer (Pinky Malinky) and Lane Luers (Kung Fu Panda: The Paws of Destiny) are showcases and executive producers of the series. Apart from them, executive producers of this series are Steven Spielberg, Frank Marshall, and Colin Trevorrow. Zack Stentz serves as a consultant producer. "
There have been rumors about the Jurassic World project for Netflix since March of this year, although there have been very conflicting ideas about what this series will be. Some believed that a spinoff would be featured, which would follow the story of movie characters, while others assumed it would be another title from the LEGO series. There were even some who assumed the exact title of the series, Camp Cretaceous.
It turned out that the series will be animated and will be more family-oriented than movies, but will nevertheless add to original mythology and storytelling. It's more than enough to interest any Jurassic world's fans.
Jurassic World: Camp Cretaceous comes to Netflix sometime in 2020.
Blumhouse and David Gordon Green (Pineapple Express) the sequel to John Carpenter's Halloween film was a big success at the cinema booths last year and since then rumors of a potential sequel to flying all over. There are no differences today. Today, Blumhouse Chief Jason Blum has published a picture of himself along with Curtis and the undercover.
"We're talking about things."
Even better than the fact that in the picture (you can see below), Jamie Lee holds her figure from the Halloween (2018) movie, making it quite obvious that the two talk about something connected with the Halloween franchise. Is it Halloween 2? I think that's probably the case, but we'll see (hopefully) soon. What do you think about the sequel to Halloween movie from 2018?
Personally, I think the film was a good end to the Michael Myers story. Going back to Michael Myers and especially Laurie Strode would only diminish what we saw at the end of the last movie. At least I think so. But on the other hand, perhaps the forces behind the movie can make it work. I believe we will have the opportunity to see. Eventually, the last movie has made fantastic cash prizes, and we all know how much money is important.
Below you can look at the picture, perhaps the first teaser for the sequel to the Halloween movie from 2018.
Robert Pattinson is the new Batman, whether you like it or not. A little over two weeks ago, Robert Pattinson was discovered on a narrow list of actors, with his name at the very top, for the title role in The Batman, directed by Matt Planets (Planet of the Apes). It was still speculated that this was already a done deal and that it was only waiting for the conclusion of the agreement. Now, according to Deadline, it is official, that is, Warner Bros. confirmed Robert Pattinson as the star of their new Batman trilogy.
Reeves will direct The Batman to his own script, and will also produce it along with Dylan Clark. Production should begin this autumn, and the film should arrive in theaters on June 25, 2021. Reeves was looking for Batman for the role of a younger actor, someone between 25 and 33 years old, and Pattinson is responding to it for 33 years. How much he will like the fans in that role, that's another question. Because even when everything was unofficial, it was already within a few hours that even several petitions were launched to replace Pattinson with another actor. But it should be taken into account that Pattinson has gone through a significant film route from Twilight (where he barely knew how to act) and recently received praise for the role in the unusual SF film High Life director Claire Denis.
After the infamous Twilight Saga, Pattinson even worked twice with David Cronenberg, on Cosmopolis and Maps to the Stars. He also made a brutal thriller about the revenge of The Rover, with director David Michoud. He also worked with the famous director James Gray on The Lost City of Z adaptation. This year we will have the opportunity to watch him in the film The Lighthouse, directed by Robert Eggers (the film is shown at the Cannes Festival, and the critics are already praising the performance of Pattinson). We will also watch him soon in Waiting for the Barbarians with Johnny Depp, followed by The King's The King with Timothy Chalamet, as well as the Netflix Thriller The Devil All the Time. Next year, we'll look at him for the unadorned Nolan's film with John David Washington.
In addition to the director, the main actor, the date of release, and the beginning of the shooting, there is almost no additional information about The Batman. It has been announced that it will be more detective. Also, the movie will feature a whole range of famous Batman's villains, among which The Penguin and Catwoman stand out as the main ones.
What do you think of this choice, please leave us a comment ...
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.