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 GoT: Le concept

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MessageSujet: Re: GoT: Le concept   GoT: Le concept - Page 9 EmptyDim 28 Avr - 19:51

Nouvelle vidéo postée par GoT:

SZA, The Weeknd, Travis Scott - “Power Is Power” Lyric Video| Game Of Thrones (HBO)

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MessageSujet: Re: GoT: Le concept   GoT: Le concept - Page 9 EmptyDim 19 Mai - 19:53

OMG THIS!!!!!!

Why Season 8 of Game of Thrones Doesn't Work

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MessageSujet: Re: GoT: Le concept   GoT: Le concept - Page 9 EmptyDim 19 Mai - 19:56

On peut refaire la saison avec les changements que le gars propose? Pretty pleaseeeeeeeeee?

Why Season 8 of Game of Thrones Doesn't Work Part 2

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MessageSujet: Re: GoT: Le concept   GoT: Le concept - Page 9 EmptyJeu 23 Mai - 21:47

Même si je ne suis pas d'accord avec absolument tout, je trouve que la vidéo explique bien tout ce qui a merdé dans la saison 8:

Game of Thrones - How to Ruin a Great Show

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MessageSujet: Re: GoT: Le concept   GoT: Le concept - Page 9 EmptyVen 24 Mai - 10:17

Hehehe, on ne peut pas dire que les fans manquent de créativité pour annoncer leur énorme déception face à la saison 8.

Ca passait mercredi, dans le ciel de Seattle:

GoT: Le concept - Page 9 G0pj7h3y5uz21

Citation :
"Someone rewrite Game of Thrones season 8 plz!"


Petit article sur le sujet:


J'aime cette partie:

Citation :
The GoFundMe page stated that any surplus funds will be used for additional messages to fly over Seattle. Many proposed banners include lingering questions that many fans have about the show, such as:

Why did you put the trebuchets in front of Winterfell?
Why did scorpions go from overpowered to useless in one episode?
What is stopping Dorne and the Iron Islands from seceding now that the Unsullied and Dothraki have left?
None of the characters’ decisions make sense anymore. Make it stop, please.
I still don’t know who the Night King is, and I’m struggling to find an appropriate medium to express my frustration and despair.

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MessageSujet: Re: GoT: Le concept   GoT: Le concept - Page 9 EmptyJeu 20 Juin - 21:36

Citation :
In the end, Game of Thrones needed better writers
Nick Cohen

Without George RR Martin, the last seasons of the TV spectacular lost their way, says the Observer columnist and GoT enthusiast

Game of Thrones final episode review – epic ending corrects some major wrongs

The failure of the final season of Game of Thrones has its cheerful side. Despite the assumptions of “creative industry” executives, the collapse in advances to novelists, the downsizing of serious journalism, and the web appearing to rule that the monetary value of the written word is precisely nothing, it turns out writers are not interchangeable.

For as long as it had George RR Martin’s novels to follow, the series triumphed. The farther it ran ahead of its creator, the worse it became. Its defenders dismiss hundreds of thousands of disappointed viewers as entitled snowflakes.

Can’t they see that the seeds of Daenerys’s genocidal character were sown over several seasons? Don’t they accept that the battle scenes were brilliant, and that the sack of King’s Landing brought the war crimes of the medieval world to life? Like teachers giving a reading list, they refer you to old episodes to prove the rightness of their strictures. They reveal nothing more than their ignorance of fiction. It is not right or wrong but true or false, and if a story feels false to a large enough section of the audience, the artistic project collapses.

GoT ought to stand alongside Harry Potter and The Lord of the Rings as a great fantasy. (I don’t use the genre term dismissively: these are our myths, which will survive after most literary fiction is forgotten.) Yet how many readers have fallen for and fallen into Tolkien and Rowling’s worlds, only to let out a disbelieving protest in the final pages? “Gollum would never have stumbled with the ring into Mount Doom?” “Voldemort’s death makes no sense.”

he most obvious effect of losing Martin has been the decline in the dialogue. DB Weiss and David Benioff – who ominously call themselves “show runners” rather than “writers” – haven’t been able to match the cynicism, pathos, wit and pain. No one should have expected it of them. Martin is a great storyteller, and although Weiss and Benioff have strengths their talent does not begin to match his. True, Martin gave them an outline of how he saw the books’ ending. But a plot sketch no more guarantees a well-constructed story than an architect’s plan guarantees a well-built house.

If Martin’s fault was to spend too long developing the story, Weiss and Benioff charge through it as if they have a train to catch. They have not learned that it is better to cut a subplot in its entirety than leave it in half-cooked. One minute Jaime Lannister and Brienne of Tarth are having an affair. The next they are not. They cannot build. The final series turns on the fight against Cersei, but she is barely seen until the massacre at King’s Landing. They cannot get their story to make sense. In one episode, three dragons cannot defeat Cersei’s forces. In the next, one can.

When and if Martin finishes the novels, Game of Thrones may stand alongside Tolkien and Rowling. But the TV series demonstrates there is no substitute for an individual writer’s creative vision. And for that we should applaud it.


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MessageSujet: Re: GoT: Le concept   GoT: Le concept - Page 9 EmptyJeu 20 Juin - 21:57

Citation :
Game of Thrones tapped into fears of revolution and political women – and left us no better off than before

So justice prevailed – but what kind of justice?

Slavoj Zizek

The last season of the Game of Thrones has prompted public outcry and culminated in a petition (signed by almost 1 million outraged viewers) to disqualify the entire season and re-shoot a new one. The ferocity of the debate is in itself a proof that the ideological stakes must be high.

The dissatisfaction turned on a couple of points: bad scenario (under the pressure to quickly end the series, the complexity of the narrative was simplified), bad psychology (Daenerys’ turn to “Mad Queen” was not justified by her character development), etc.

One of the few intelligent voices in the debate was that of the author Stephen King who noted that dissatisfaction was not generated by the bad ending but the fact of the ending itself. In our epoch of series which in principle could go on indefinitely, the idea of narrative closure becomes intolerable.

It is true that, in the series’ swift denouement, a strange logic takes over, a logic that does not violate credible psychology but rather the narrative presuppositions of a TV series. In the last season, it is simply the preparation for a battle, mourning and destruction after the battle, and of the battler itself in all its meaninglessness – much more realistic for me than the usual gothic melodramatic plots.

Season eight stages three consecutive struggles. The first one is between humanity and its inhuman “Others” (the Night Army from the North led by the Night King); between the two main groups of humans (the evil Lannisters and the coalition against them led by Daenerys and Starks); and the inner conflict between Daenerys and the Starks.

This is why the battles in season eight follow a logical path from an external opposition to the inner split: the defeat of the inhuman Night Army, the defeat of Lannisters and the destruction of King’s Landing; the last struggle between the Starks and Daenerys – ultimately between traditional “good” nobility (Starks) faithfully protecting their subjects from bad tyrants, and Daenerys as a new type of a strong leader, a kind of progressive bonapartist acting on behalf of the underprivileged.

The stakes in the final conflict are thus: should the revolt against tyranny be just a fight for the return of the old kinder version of the same hierarchical order, or should it develop into the search for a new order that is needed?

The finale combines the rejection of a radical change with an old anti-feminist motif at work in Wagner. For Wagner, there is nothing more disgusting than a woman who intervenes in political life, driven by the desire for power. In contrast to male ambition, a woman wants power in order to promote her own narrow family interests or, even worse, her personal caprice, incapable as she is of perceiving the universal dimension of state politics.

The same femininity which, within the close circle of family life, is the power of protective love, turns into obscene frenzy when displayed at the level of public and state affairs. Recall the lowest point in the dialogue of Game of Thrones when Daenerys tells Jon that if he cannot love her as a queen then fear should reign – the embarrassing, vulgar motif of a sexually unsatisfied woman who explodes into destructive fury.

But – let’s bite our sour apple now – what about Daenerys’ murderous outbursts? Can the ruthless killing of the thousands of ordinary people in King’s Landing really be justified as a necessary step to universal freedom? At this point, we should remember that the scenario was written by two men.

Daenerys as the Mad Queen is strictly a male fantasy, so the critics were right when they pointed out that her descent into madness was psychologically not justified. The view of Daenerys with mad-furious expression flying on a dragon and burning houses and people expresses patriarchal ideology with its fear of a strong political woman.

The final destiny of the leading women in Game of Thrones fits these coordinates. Even if the good Daenerys wins and destroys the bad Cersei, power corrupts her. Arya (who saved them all by single-handedly killing the Night King) also disappears, sailing to the West of the West (as if to colonise America).

The one who remains (as the queen of the autonomous kingdom of the North) is Sansa, a type of women beloved by today’s capitalism: she combines feminine softness and understanding with a good dose of intrigue, and thus fully fits the new power relations. This marginalisation of women is a key moment of the general liberal-conservative lesson of the finale: revolutions have to go wrong, they bring new tyranny, or, as Jon put it to Daenerys:

“The people who follow you know that you made something impossible happen. Maybe that helps them believe that you can make other impossible things happen: build a world that’s different from the shit one they’ve always known. But if you use dragons to melt castles and burn cities, you’re no different.”

Consequently, Jon kills out of love (saving the cursed woman from herself, as the old male-chauvinist formula says) the only social agent in the series who really fought for something new, for a new world that would put an end to old injustices.

So justice prevailed – but what kind of justice? The new king is Bran: crippled, all-knowing, who wants nothing – with the evocation of the insipid wisdom that the best rulers are those who do not want power. A dismissive laughter that ensues when one of the new elite proposes a more democratic selection of the king tells it all.

And one cannot help but note that those faithful to Daenerys to the end are more diverse – her military commander is black – while the new rulers are clearly white Nordic. The radical queen who wanted more freedom for everyone irrespective of their social standing and race is eliminated, things are brought back to normal.


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MessageSujet: Re: GoT: Le concept   GoT: Le concept - Page 9 EmptyJeu 20 Juin - 22:19

Si on avait besoin de plus de preuves que la trajectoire a - pour une raison totalement débile et incompréhensible - a été changée après saison 7. Lena a confirmé que Cersei devait normalement faire une fausse couche en saison 7, comme les scripts leakés le décrivaient. La scène a même été tournée et elle n'a appris qu'à la diffusion de l'épisode que ça n'avait pas été inclus:



Pas pour rien que la saison 8 n'a aucun sens, vu tout ce qu'ils ont introduit en saison 7 pour, au final, choisir de tout ignorer et partir dans une direction différente. You know, pour créer des twists choquants et inattendus Rolling Eyes

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MessageSujet: Re: GoT: Le concept   GoT: Le concept - Page 9 EmptyMer 17 Juil - 1:18

J'avais vu quelques trucs sur le sujet passer, et c'est quand même ultra idiot d'avoir supprimé une scène d'une telle importance... Ça aurait été plus intéressant qu'avoir Cersei sifflant des verres à une fenêtre toute la saison et mourant sous des cailloux.


Je viens de tomber sur ça :

GoT: Le concept - Page 9 Captu708

Yup.
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MessageSujet: Re: GoT: Le concept   GoT: Le concept - Page 9 EmptyMer 17 Juil - 18:07

C'est pas le pire, le final est nominé pour meilleur script dramatique.

Euh, LOL!!!!! Un épisode de presque 1h30 avec 20 minutes de dialogue Rolling Eyes

Entre ça et les 16 (?) nominations... si ça ne prouve pas que l'industrie n'est pas impartiale et que les chaines ont la possibilité de faire pression (financière ou autre) je ne sais pas ce qu'il faut!

Don't get me wrong, je suis contente que les acteurs soient mis à l'honneur, mais quand on voit 4 actrices de la série pour une même catégorie, c'est abusé!

Le pire c'est que je suis quasi sûre qu'ils vont remporté plein de prix... Et autant j'ai envie que les acteurs voient tout leur travail acharné récompensé, autant que je veux que l'industrie reconnaisse que c'était une bouse totale cette saison! C'est important de marqué le coup...

Mais bon, je n'y crois pas beaucoup et je m'attends à voir ma foi en l'humanité encore plus ébranlée...

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Dernière édition par a.a.k le Jeu 18 Juil - 20:03, édité 1 fois
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MessageSujet: Re: GoT: Le concept   GoT: Le concept - Page 9 EmptyJeu 18 Juil - 20:03

OMG GoT: Le concept - Page 9 468247 GoT: Le concept - Page 9 468247 GoT: Le concept - Page 9 468247

BREAKING: JON SNOW FINALLY APOLOGIZED FOR SEASON 8

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MessageSujet: Re: GoT: Le concept   GoT: Le concept - Page 9 EmptyLun 21 Oct - 13:29

GoT: Le concept - Page 9 Dzzjjpyzffo31

GoT: Le concept - Page 9 903355

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MessageSujet: Re: GoT: Le concept   GoT: Le concept - Page 9 EmptyMar 29 Oct - 22:18

GoT: Le concept - Page 9 903355 GoT: Le concept - Page 9 223890 GoT: Le concept - Page 9 903355
Citation :



‘Star Wars’ Setback: ‘Game Of Thrones’ Duo David Benioff & D.B. Weiss Exit Trilogy

EXCLUSIVE: David Benioff and D.B. Weiss, the duo who in 2011 launched the singular screen sensation known as Game of Thrones, have walked away from their much-publicized deal with Disney’s Lucasfilm to launch a feature film trilogy in 2022.

Benioff and Weiss were supposed to usher in the post-Skywalker era of the Star Wars brand with a 2022 new-start story that would stake out a new frontier for the era-defining cinema brand created by George Lucas. The Emmy-winning pair cited their historic deal with Netflix. They said their enthusiasm for Star Wars remains boundless but, regrettably, their schedule is full.

“We love Star Wars,” the pair said in a statement to Deadline. “When George Lucas built it, he built us too. Getting to talk about Star Wars with him and the current Star Wars team was the thrill of a lifetime, and we will always be indebted to the saga that changed everything.”

That 2022 release date made the Benioff-Weiss startup the next-in-line Star Wars installment following this December’s The Rise of Skywalker, the final chapter of the Skywalker family chronicles that have been captivating moviegoers since 1977.

Lucasfilm president Kathleen Kennedy has plenty of other Star Wars projects in the hopper — The Rise of Skywalker on December 20, The Mandalorian in 15 days on Disney+ and the ramping up of the Ewan McGregor series, to name just three — so it’s unclear how much of a setback the now-nixed trilogy presents. There’s also no shortage of upcoming collaborators lined up, among them Rian Johnson and Kevin Feige.

Kennedy didn’t close shut any doors in her sendoff statement on Monday: “David Benioff and Dan Weiss are incredible storytellers. We hope to include them in the journey forward when they are able to step away from their busy schedule to focus on Star Wars.”

Clearly, it’s a big-fizzle ending for the firecracker-fuse headline from February 2018 when the deal was announced. But the duo’s deal arguably lost some luster during the much-maligned final season of Game of Thrones earlier this year as many fans questioned whether the GoT creators had the storytelling chops to handle a Jedi saga.

In the end, however, it appears the tandem’s deficiency was in time, not talent. In August, Deadline broke the news that the GoT duo had signed a nine-figure deal with Netflix, and on Monday, that commitment was the one that brought about the end of the Great Westeros Experiment by Disney and Lucasfilm.

“There are only so many hours in the day, and we felt we could not do justice to both Star Wars and our Netflix projects,” the GoT pair said in a statement to Deadline. “So we are regretfully stepping away.”



En d'autres mots, ils se sont faits virés! C'est pas possible autrement. Ca fait plus d'1 an qu'il avait été annoncé qu'ils feraient la trilogie. Puis c'est passé à juste un film, et maintenant ils n'ont plus le temps à cause de Netflix? Qui jarte Star Wars pour Netflix? Qui jarte Star Wars pour QUOI QUE CE SOIT?

ILS se sont fait jartés! And that makes me so happy GoT: Le concept - Page 9 4845 Surtout après les conneries monumentales qu'ils ont encore sorties à une convention il y a quelques jours. Qui montrent à quel point ils ne respectaient pas les fans et encore moins l'oeuvre de GRRM.

Donc que le désastre monumental qu'a été la saison 8 ait des répercussions et juste *chief kiss".

Le seul truc qui est rageant, d'un côté... c'est qu'on sait qu'ils ont bâclé GoT en refusant d'aller au-delà de 8 saisons alors qu'HBO était prêt à leur donner autant de saisons et de moyens qu'ils voulaient... tout ça pour pouvoir aller sur Star Wars. Et au final, ils sont virés... C'est bien fait, mais ça ne fait que rajouter des raisons de râler face à la bouse qu'on a eu pour finir la série...

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MessageSujet: Re: GoT: Le concept   GoT: Le concept - Page 9 EmptyMar 29 Oct - 22:29

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GoT: Le concept - Page 9 903355

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MessageSujet: Re: GoT: Le concept   GoT: Le concept - Page 9 EmptyMer 30 Oct - 10:48

J'ai pensé à toi direct quand j'ai vu les news sur le sujet, c'est super drôle GoT: Le concept - Page 9 468247 GoT: Le concept - Page 9 468247 GoT: Le concept - Page 9 468247

En même temps, tu peux pas bâcler une série aussi géante que GoT sur de la merde et espérer qu'on t'accueille ensuite à bras ouverts ailleurs. Razz
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MessageSujet: Re: GoT: Le concept   GoT: Le concept - Page 9 EmptyJeu 31 Oct - 20:29

Honnêtement, je ne sais pas s'ils se rendent compte qu'ils ont fait de la merde. Et je ne sais pas ce qui serait pire: qu'ils ont *volontairement* fait de la merde parce qu'ils voulaient en finir le plus vite possible... ou qu'ils pensaient réellement avoir écrit un truc révolutionnaire qui allait en mettre plein les yeux à leur audience => le débat du c'est A ou A+?


Parce que le compte-rendu de leur panel d'il y a quelques jours fait véritablement peur. Ils donnent l'impression d'être arrogants ET incompétents:

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I mean... entre le fait d'avoir laisser les acteurs redéfinir les persos (enfin, Maisie et Sophie... parce que quand ceux qui avaient lu les livres, comme Kit, Emilia, Ian McElhinney, ... voulaient donner leurs avis... ça tombait dans l'oreille de 2 sourds), et le fait de ne pas avoir essayer se pencher sur les thèmes et messages des livres, juste sur quelques scènes clés et "c'est une histoire de pouvoir"....

*sigh*


Puis leur réponse sur l'absence de femmes et de diversités dans leur équipe de scénaristes et sur le fait de lire les retours des fans (et critiques dumbasses!) GoT: Le concept - Page 9 607762

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