What If Lisa Had All The Power: 2019 Emmy Nominations Edition


In a few hours, the 2019 Emmy nominations will be announced!

Since I love awards and I love making lists, it’s an annual tradition that I list who and what would be nominated if I had all the power.  Keep in mind that what you’re seeing below are not necessarily my predictions of what or who will actually be nominated.  Many of the shows listed below will probably be ignored tomorrow morning.  Instead, this is a list of the nominees and winners if I was the one who was solely responsible for picking them.

Because I got off to a late start this year, I’m only listing the major categories below.  I may go back and do a full, 100-category list sometime tomorrow.  Who knows?  I do love making lists.

Anyway, here’s what would be nominated and what would win if I had all the power!  (Winners are listed in bold.)

(Want to see who and what was nominated for Emmy consideration this year?  Click here!)

(Want to see my picks for last year?  Click here!)

(Want to see my picks for 2012?  I know, that’s kinda random.  Anyway, click here!)

Programming

Outstanding Comedy Series

Barry

Brooklyn Nine-Nine

GLOW

It’s Always Sunny In Philadelphia

The Marvelous Mrs. Maisel

One Day At A Time

Veep

Vida

Outstanding Drama Series

Better Call Saul

Dynasty

Flack

Game of Thrones

The Magicians

My Brilliant Friend

Ozark

You

Outstanding Limited Series

Chernobyl

Fosse/Verdon

The Haunting of Hill House

I Am The Night

Maniac

Sharp Objects

True Detective

A Very English Scandal

Outstanding Television Movie

The Bad Seed

Bandersnatch (Black Mirror)

Brexit

Deadwood

King Lear

Native Son

No One Would Tell

O.G.

Performer

Outstanding Lead Actor in a Comedy Series

Iain Armitage in Young Sheldon

Ted Danson in The Good Place

Bill Hader in Barry

Pete Holmes in Crashing

Glenn Howerton in A.P. Bio

Andy Samberg in Brooklyn Nine Nine

Outstanding Lead Actor in a Drama Series

Penn Badgley in You

Jason Bateman in Ozark

James Franco in The Deuce

John Krasinski in Tom Clancy’s Jack Ryan

Bob Odenkirk in Better Call Saul

Dominic West in The Affair

Outstanding Lead Actor In a Limited Series

Hugh Grant in A Very English Scandal

Jared Harris in Chernobyl

Jonah Hill in Maniac

Chris Pine in I Am The Night

Sam Rockwell in Fosse/Verdon

Henry Thomas in The Haunting of Hill House

Outstanding Lead Actor In An Original Movie

Benedict Cumberbatch in Brexit

Anthony Hopkins in King Lear

Rob Lowe in The Bad Seed

Ian McShane in Deadwood

Timothy Olyphant in Deadwood

Jeffrey Wright in O.G.

Outstanding Lead Actress In A Comedy Series

Melissa Barrera in Vida

Kristen Bell in The Good Place

Alison Brie in GLOW

Rachel Brosnahan in The Marvelous Mrs. Maisel

Julia Louis-Dreyfus in Veep

Zoe Perry in Young Sheldon

Outstanding Lead Actress in A Drama Series

Emilia Clarke in Game of Thrones

Gaia Girace in My Brilliant Friend

Maggie Gyllenhaal in The Deuce

Laura Linney in Ozark

Margherita Mazzucco in My Brilliant Friend

Anna Paquin in Flack

Outstanding Lead Actress in a Limited Series

Amy Adams in Sharp Objects

India Eisley in I Am The Night

Carla Gugino in The Haunting of Hill House

Charlotte Hope in The Spanish Princess

Emma Stone in Maniac

Michelle Williams in Fosse/Verdon

Outstanding Lead Actress in an Original Movie

Shannen Doherty in No One Would Tell

Chelsea Frei in Victoria Gotti: My Father’s Daughter

McKenna Grace in The Bad Seed

Paula Malcolmson in Deadwood

Molly Parker in Deadwood

Christina Ricci in Escaping The Madhouse: The Nellie Bly Story

Outstanding Supporting Actor In A Comedy Series

Fred Armisen in Documentary Now!

Andre Braugher in Brooklyn Nine Nine

Anthony Carrigan in Barry

Tony Hale in Veep

Sam Richardson in Veep

Stephen Root in Barry

Outstanding Supporting Actor In A Drama Series

Jonathan Banks in Better Call Saul

Nikolaj Coster-Waldau in Game of Thrones

Peter Dinklage in Game of Thrones

Giancarlo Esposito in Better Call Saul

Peter Mullan in Ozark

Luca Padovan in You

Outstanding Supporting Actor In A Limited Series

Stephen Dorff in True Detective

Timothy Hutton in The Haunting of Hill House

Chris Messina in Sharp Objects

Stellan Skarsgard in Chernobyl

Justin Thereoux in Maniac

Ben Whishaw in A Very English Scandal

Outstanding Supporting Actor In An Original Movie

Jim Broadbent in King Lear

Bill Camp in Native Son

Theothus Carter in O.G.

Rory Kinnear in Brexit

Gerald McRaney in Deadwood

Will Poulter in Bandersnatch (Black Mirror)

Outstanding Supporting Actress in A Comedy Series

Caroline Aaron in The Marvelous Mrs. Maisel

Alex Borstein in The Marvelous Mrs. Maisel

Anna Chlumsky in Veep

Sarah Goldberg in Barry

Rita Moreno in One Day At A Time

Sarah Sutherland in Veep

Outstanding Supporting Actress In A Drama Series

Summer Bishil in The Magicians

Elisa Del Genio in My Brilliant Friend

Julia Garner in Ozark

Lena Headey in Game of Thrones

Elizabeth Lail in You

Shay Mitchell in You

Outstanding Supporting Actress In A Limited Series

Jessie Buckley in Chernobyl

Patricia Clarkson in Sharp Objects

Sally Field in Maniac

Patricia Hodge in A Very English Scandal

Connie Nielsen in I Am The Night

Emily Watson in Chernobyl

Outstanding Supporting Actress In An Original Movie

Kim Dickens in Deadwood

Florence Pugh in King Lear

Margaret Qualley in Favorite Son

Emma Thompson in King Lear

Emily Watson in King Lear

Robin Weigert in Deadwood

 

Solo: A Star Wars Story, A review with the spoilers that you deserve! By Case Wright


 

GO SEE THIS MOVIE! I don’t remember when Star Wars came out, but I do remember when Empire did and I loved it.  Yes, there were some deeper themes to these movies, but at their heart they were fun like a beach read.  We, the fans, have made these films into something they never were serious think pieces.  I just saw a youtube video where a guy was trying to describe the “correct” routes Han would have to take through the Kessel Run. Give it a rest!

This movie did what the last 6 have failed to do: Entertain.  Rogue One was a melancholy piece of trash about sending an email on a vhs tape.  BORING.  The rest are mind-numbingly painful experiences that are determined to take themselves so seriously that I have had more fun reviewing license agreements for my latest Turbo Tax software.  I really don’t care about Rey or the Ugly Gloomy Kid Kylo Ren who failed to get any of Han’s good looks.  If I were Han, I would have called up Maury Povich about that kid.

This movie did what it was supposed to do first: entertain.  It’s like the other movies never bothered to put that basic principle into the writers’ room.  Ron Howard really did a great job with the film and Alden Ehrenreich really succeeded in capturing a pre-cynical, but still cocky Han.  It could be that I also liked this story because Han reminds me the most of myself: edgy, cocky, wise-cracking, iconoclast, with devastating good looks.

The story even opens uniquely without any moody sad bullshit. Instead, it opens with some text, the title card, and Han driving away fast and furious, and a bit bloodied.  There’s no everyone’s perfect and noble blah blah blah.  Within 30 minutes, you are transported to a high-stakes futuristic train robbery that if it had a couple tumbleweeds and player piano, it would have been a great Western.

Han begins his quest because he loses his love Emilia Clarke.  Han between you and me: you gotta lock that down.  Other than Emilia, everyone else in the universe is gross and scaly even pretty people make ugly kids (see above) there must be radiation in this galaxy far far away or some such shit.  Han figures that if he does enough smuggling and heists he’ll get enough cash, to buy a ship and get Emilia Clarke out of the hellhole from whence she came. It doesn’t quite work out the way he plans, but you see a great character arc as Han become more cynical and savvy as the rogue we will eventually love.

As he is going on his big heist, we watch his friendship develop with Chewy, Lando, and most of all the Millenium Falcon which comes across as a character herself.  Most of the critics who have done middling reviews seem to focus on the box office, but unless you’re a shareholder of Newscorp or an accountant at 20th Century fox, why do you care?!  Another bizarre critique is that it’s too fun or not melancholy enough as Rogue One.  Okay, I have solution for the people who don’t think this amazingly well-done feature isn’t sad enough for them:  Go see this film, then shortly thereafter do a search for political twitter and then click show threads or just look up one of your hollywood heroes and count the indictments.

 

 

Film Review: Solo: A Star Wars Story (dir. by Ron Howard)


solo-poster-1I feel like the Grinch, standing high on his mountain and looking down at all the Who’s in Whoville. Look at them, enjoying Solo – A Star Wars Story. Look at them, geeking over Chewie, the Millenium Falcon and the Kessel Run. Look at them smile at Lando Calrissian, still cool after these years. From where I stood, I had fun, but not nearly as much as they all did. Did we all watch the same film?

I think I’m a little jealous for not feeling that, and somewhat sad.

Granted, I didn’t outright despise Solo. I adore heist films like Thief and Heat. Perhaps it’s because the cast is fun to watch on-screen. You have the seedy side of the universe, and frankly, I’ve love to see more of it in future installments. This was closer to what I originally hoped to see with the Prequels, or even The Force Awakens. Not every Star Wars tale has to be an Empire vs. Rebellion / Jedi vs. Sith one (though lightsaber battles are always appreciated).

On the other hand, I had the same experience here that I did with Rogue One. The film almost lost me until it started to induce some nostalgia. With the exception of a few key scenes, I had a tough time feeling anything for most of this film. Boredom slapped me in the face for a little while here. Maybe I’ve just reached the age where I can put Star Wars on the shelf and maybe move on from it altogether. Judging by the number of people who chose to check their cell phones rather than watch the movie, I don’t think I’m alone there.

I initially bought a ticket for the 10:15pm Thursday IMAX showing, and then realized I wanted to come home early. I purchased a 7pm 3D showing, which is where this review is coming from. I didn’t feel the need to stay for the IMAX. Maybe that’s the best way to sum it up.

The movie was originally helmed by The Lego Movie’s Phil Lord and Christopher Miller, but due to creative differences, they were taken off the project and replaced by Ron Howard. Howard’s familar with Lucasfilm, having worked on Willow back in the late 1980’s. The result of this is that you have a very safe film. Howard dots the I’s, crosses the t’s and make the movie everything the writing duo of Jonathan and Lawrence Kasdan need. Since we know where Han & Chewie are going to end up, it’s just a matter of getting from Point A to Point B, without any real worries about the characters. I’m somewhat curious of what we could have had if Lord/Miller stayed on.

2121 Jump Street, perhaps?

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Emilia Clarke’s Qi’Ra, from Solo: A Star Wars Story.

While we’re on the topic of the writing, the Kasdans manage to drop a few bells and whistles that many fans will enjoy. There’s a line that Emilia Clarke’s Qi’Ra utters about her abilities that left me smiling and slowly nodding like a person who just received a toast. Lucasfilm is learning from The Last Jedi’s mistakes, that much is certain. It’s a tight script that rarely goes off tangent.

The movie finds a young Han Solo (Alden Ehrenreich, Beautiful Creatures, Hail Casear) looking to acquire some Hyperfuel, a power source that most smugglers pay a handsome price for. He dreams of becoming a pilot, someday having his own ship so that he can be reunited with an old flame/partner. This leads him to eventually join up with a heist crew and a task that needs to be fulfilled. I won’t give away any more, but it’s a great thing to see all of the pieces fall into place.

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Han and Chewie, not caring about the odds.

The supporting cast in Solo is wonderful. That was something that felt right. Between Donald Glover’s scene stealing Lando Calrissian (which eerily sounds like Billy Dee Williams sometimes), Paul Bettany’s Dryden Vos, and Phoebe Waller-Bridge’s L3-37 , everyone in Solo gives a good performance. Aldenreich, I’m not sure of. I didn’t expect him to be Harrison Ford, but he seemed a little generic, for want of a better word. You could have plucked him out, dropped in someone else and it might be the same. At least, that’s how I felt. Still, he doesn’t give a bad performance. Han felt like the supporting character in his own film, the cast is that good.

From an effects standpoint, there are a number of creatures and various new ship tech to behold. It all looks and feels great (especially the Millennium Falcon flight sequences), though I should point out that the 3D presentation isn’t really necessarily. In fact, the first 20 minutes of the film are so dimly lit that the sunglass effect of 3D shades feels like you’re just watching silhouettes on-screen. Howard does a good Job of setting up scenes and keeping everything flowing. It’s a pretty tight production, overall and you’ll be suprised at how fast the film seems to move.

John Powell (X-Men: The Last Stand, The Bourne Trilogy, How to Train Your Dragon) takes on the musical responsibilities since Michael Giacchino’s doing everything else for Disney these days. It’s a great score, though if there is a particular theme for Han, I can’t say I caught it. I do plan on picking up the soundtrack when it comes out next week.

Overall, Solo: A Star Wars Story isn’t one you have to run to the theatre for. It’s not a terrible film by any means. It just didn’t hold me the way I wanted it to. I feel that’s more a reflection of myself than of the film overall. Still, if you can wait the three months to catch it digitally, you might be better off doing so.

Of course, as the Dude from the Big Lebowski says “That’s just like, your Opinion, man.” Go out there, see the film and form your own.  Hope you enjoy it.

 

Playing Catch-Up With The Films of 2016: Alice Through The Looking Glass, Gods of Egypt, The Huntsman: Winter’s War, Me Before You, Mother’s Day, Risen


Here are six mini-reviews of six films that I saw in 2016!

Alice Through The Looking Glass (dir by James Bobin)

In a word — BORING!

Personally, I’ve always thought that, as a work of literature, Through The Looking Glass is actually superior to Alice’s Adventures in Wonderland.  That’s largely because Through The Looking Glass is a lot darker than Wonderland and the satire is a lot more fierce.  You wouldn’t know that from watching the latest film adaptation, though.  Alice Through The Looking Glass doesn’t really seem to care much about the source material.  Instead, it’s all about making money and if that means ignoring everything that made the story a classic and instead turning it into a rip-off of every other recent blockbuster, so be it.  At times, I wondered if I was watching a film based on Lewis Carroll or a film based on Suicide Squad.  Well, regardless, the whole enterprise is way too cynical to really enjoy.

(On the plus side, the CGI is fairly well-done.  If you listen, you’ll hear the voice of Alan Rickman.)

Gods of Egypt (dir by Alex Proyas)

I don’t even know where to begin when it comes to describing the plot of Gods of Egypt.  This was one of the most confusing films that I’ve ever seen but then again, I’m also not exactly an expert when it comes to Egyptian mythology.  As far as I could tell, it was about Egyptian Gods fighting some sort of war with each other but I was never quite sure who was who or why they were fighting or anything else.  My ADHD went crazy while I was watching Gods of Egypt.  There were so much plot and so many superfluous distractions that I couldn’t really concentrate on what the Hell was actually going on.

But you know what?  With all that in mind, Gods of Egypt is still not as bad as you’ve heard.  It’s a big and ludicrous film but ultimately, it’s so big and so ludicrous that it becomes oddly charming.  Director Alex Proyas had a definite vision in mind when he made this film and that alone makes Gods of Egypt better than some of the other films that I’m reviewing in this post.

Is Gods of Egypt so bad that its good?  I wouldn’t necessarily say that.  Instead, I would say that it’s so ludicrous that it’s unexpectedly watchable.

The Huntsman: Winter’s War (dir by Cedric Nicolas-Troyan)

Bleh.  Who cares?  I mean, I hate to put it like that but The Huntsman: Winter’s War felt pretty much like every other wannabe blockbuster that was released in April of last year.  Big battles, big cast, big visuals, big production but the movie itself was way too predictable to be interesting.

Did we really need a follow-up to Snow White and The Huntsman?  Judging by this film, we did not.

Me Before You (dir by Thea Sharrock)

Me Before You was assisted suicide propaganda, disguised as a Nicolas Sparks-style love story.  Emilia Clarke is hired to serve as a caregiver to a paralyzed and bitter former banker played by Sam Claflin.  At first they hate each other but then they love each other but it may be too late because Claflin is determined to end his life in Switzerland.  Trying to change his mind, Clarke tries to prove to him that it’s a big beautiful world out there.  Claflin appreciates the effort but it turns out that he really, really wants to die.  It helps, of course, that Switzerland is a really beautiful and romantic country.  I mean, if you’re going to end your life, Switzerland is the place to do it.  Take that, Sea of Trees.

Anyway, Me Before You makes its points with all the subtlety and nuance of a sledge-hammer that’s been borrowed from the Final Exit Network.  It doesn’t help that Clarke and Claflin have next to no chemistry.  Even without all the propaganda, Me Before You would have been forgettable.  The propaganda just pushes the movie over the line that separates mediocre from terrible.

Mother’s Day (dir by Garry Marshall)

Y’know, the only reason that I’ve put off writing about how much I hated this film is because Garry Marshall died shortly after it was released and I read so many tweets and interviews from people talking about what a nice and sincere guy he was that I actually started to feel guilty for hating his final movie.

But seriously, Mother’s Day was really bad.  This was the third of Marshall’s holiday films.  All three of them were ensemble pieces that ascribed a ludicrous amount of importance to one particular holiday.  None of them were any good, largely because they all felt like cynical cash-ins.  If you didn’t see Valentine’s Day, you hated love.  If you didn’t see New Year’s Eve, you didn’t care about the future of the world.  And if you didn’t see Mother’s Day … well, let’s just not go there, okay?

Mother’s Day takes place in Atlanta and it deals with a group of people who are all either mothers or dealing with a mother.  The ensemble is made up of familiar faces — Jennifer Aniston, Julia Roberts, Kate Hudson, and others! — but nobody really seems to be making much of an effort to act.  Instead, they simple show up, recite a few lines in whatever their trademark style may be, and then cash their paycheck.  The whole thing feels so incredibly manipulative and shallow and fake that it leaves you wondering if maybe all future holidays should be canceled.

I know Garry Marshall was a great guy but seriously, Mother’s Day is just the worst.

(For a far better movie about Mother’s Day, check out the 2010 film starring Rebecca De Mornay.)

Risen (dir by Kevin Reynolds)

As far as recent Biblical films go, Risen is not that bad.  It takes place shortly after the Crucifixion and stars Joseph Fiennes as a Roman centurion who is assigned to discover why the body of Jesus has disappeared from its tomb.  You can probably guess what happens next.  The film may be a little bit heavy-handed but the Roman Empire is convincingly recreated, Joseph Fiennes gives a pretty good performance, and Kevin Reynolds keeps the action moving quickly.  As a faith-based film that never becomes preachy, Risen is far superior to something like God’s Not Dead 2.

 

 

Trash Film Guru Vs. The Summer Blockbusters : “Terminator Genisys”


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Patrick Lussier just can’t catch a break.

Think about it : after toiling away in tinseltown as an editor for a couple of decades, he finally hits it semi-big as a director with the (go on, admit it) deliriously fun and sleazy 3-D remake of My Bloody Valentine in 2009. Since then? Well, shit — it’s all been downhill.

Apparently he was then considered Hollywood’s new “go-to guy” for 3-D flicks for all of about five minutes, but when his next one — the (again, go on and admit it) flat-out awesome Drive Angry tanked at the box office in spectacular fashion, it was back to the editing room (or, as is most likely the case, laptop) for poor ol’ Pat. And again, most of the movies he worked on — like the criminally-underappreciated Apollo 18  — were way better than their tepid reception among audiences and critics (but what do they know, anyway?) would indicate. Other projects his name was attached to, like Halloween 3 (and no, I’m not talking about Season Of The Witch), failed to materialize altogether.

Then comes another big break — hell, the biggest break of all — out of the blue. The long-shelved script he wrote (or co-wrote, as the final credits would indicate, since it was later tinkered with by Laeta Kalogridis) for yet another Terminator sequel/reboot was “back on” at Paramount, with Alan Taylor of Thor : The Dark World  “fame” slated to direct. It even had a name : Terminator Genisys. And Lussier would be getting an executive producer credit on this big-budget blockbuster as well.

So what happens? It absolutely tanks at the ticket windows. And so the hard-luck saga of Patrick Lussier continues. I predict we’ll next see him as an editor on Paranormal Activity 9 or Insidious Chapter 6.

All of which is one heck of a shame because, once again contrary to popular belief, Terminator Genisys is actually pretty damn good stuff.

terminator-genisys-super-bowl-ad-debuts

Damn good stupid stuff, to be sure, but so what? Apologies to all the James Cameron fans out there who don’t like to acknowledge this simple fact, but  1984’s original The Terminator had much more in common — both in budgetary and stylistic terms — with the Roger Corman fare that the future director of Titanic and Avatar cut his teeth on than it did with the billion-dollar bonanzas for which its auteur would eventually become famous. In point of fact, it’s essentially one of the last low-budget sci-fi exploitation pictures that didn’t go straight to video. And it’s absolutely awesome.

I’m not here to tell you that Terminator Genisys is as good as that was. Shit, it’s not even close. But it is much closer to the original in spirit than it is to the later, much-more-lavish sequels/prequels — the last two of which, Terminator 3 : Rise Of The Machines and Terminator Salvation, were positively atrocious. This, at least, feels like a “proper” Terminator flick again.

Are there plot holes big enough to plow an armored tank through? Absolutely. But that’s just part and parcel of the goings-on with a movie of this nature — and besides, they engage in this sort of “timey-wimey” gimmickry on Doctor Who all the time these days, and it’s praised as “quality” television rather than the cheap and obvious stunt it is (and speaking of Doctor Who, don’t blink — sorry, couldn’t resist! — or you’ll miss Matt Smith in this). I’ll take it served up as it is here without any pretense towards faux-intellectualism, thank you very much. And anyway, are people really complaining about getting to see present-day Old Arnold Schwarzenegger duking it out vs. CGI-reconstructed Young Arnold Schwarzenegger? Where’s your sense of fun, folks?

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I guess it all just depends on who you ask. While Terminator Genisys currently “enjoys” a rather atrocious 21% rating on Rotten Tomatoes, where the critics hold court, it’s faring much better on the IMDB scorecard, where the fans have their say, with a perfectly respectable 7.1 out of 10. In other words, real people like this movie.

And what’s not to like? We’ve got “liquid metal” T-1000s squaring off against Ah-nuld’s earlier T-800 model. We’ve got cheesy one-liners galore. We’ve got a new plot twist involving John Connor (here played by Jason Clarke) that’s actually interesting. We’ve got a reasonably dashing new hero in the form of Kyle Reese (Jai Courtney). We’ve got Oscar winner J.K. Simmons doing the “old man tilting at windmills who no one else will listen to” role that he’s perfected down to a science (when he’s not selling his soul to Farmers Insurance, that is). We’ve got explosions, aerial battles, and likable good guys vs. suitably despicable bad guys. We’ve got an amped-up version of the internet that’s out to destroy the world, with requisite Luddite authorial sympathies attached. And, oh yeah, we’ve got this grin —

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My only gripe is that Emilia Clarke just plain can’t cut it as Sarah Connor. She tries her best, sure, but she’s no Linda Hamilton. Consequently, her love story with Courtney’s Kyle Reese ends up falling a little flat. But that’s small potatoes compared to everything Taylor and company (including, of course, Lussier) get right here — rather than trying to one-up the original, which never really worked anyway, they just set out to add a worthy celluloid appendage to it. When looked at that way, Terminator Genisys is — against all odds and the loud chorus of naysayers out there — a tremendous success indeed.

Terminator: Genisys (Official Trailer)


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I’m not sure if the 5th Terminator film is a prequel or a sequel. Time travel and paradoxes and all that jazz sure make it difficult to figure that out.

Now, what we do know is that Terminator: Genisys (whoever came up with that title should be shot) will take things even farther than the first film which is suppose to kickoff a divergent timeline that makes the first four films a moot point.

So, this means that Terminator: Genisys may be both prequel and sequel, but also a reset of the whole franchise. See what I mean about confusing.

Here’s to hoping that screenwriters Laeta Kalogridis and Patrick Lussier have a better handle on all this jumbled time travel and resetting stuff.

Terminator: Genisys is set for July 1, 2015 release date.

Game of Thrones Season 4 “Foreshadowing”


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April 6, 2014 is when we return to the Seven Kingdoms of Westeros. We will see a continuation of the war and the storm of swords which troubles the lands. The Red Wedding will pose consequences for those who participated and across the Narrow Sea the Mother of Dragons begins her conquest and plans her inevitable return to reclaim the Iron Throne that is her birthright.

Here is a 14-minute sneak peek that foreshadows the events foretold for the upcoming season where Winter is still coming.

Trailer: Game of Thrones – Season 3 (2nd Trailer)


GameofThronesS3

It’s less than two weeks before we get to the premiere of HBO’s third season of Game of Thrones.

This latest trailer marketing the premium cable channel’s latest epic hit series brings everyone back who survived Season 2 and introduces a couple more people (Mance Rayder being one of them). We also get to see just how much the baby dragons of Daenerys Stormborn’s have gotten not to mention the army she has acquired since the end of Season 2 (I’m guessing these are the Unsullied).

This third season looks to lean heavily on the third novel in the series, A Storm of Swords, and for those who have read that massive tome will await this third season with both anticipation and trepidation. One thing the show has taught viewers has been to not get so fixated on characters. George R.R. Martin is more than willing to kill off beloved character and it looks like showrunners of the show have learned to do the same.

Game of Thrones Season 3 is set to premiere on March 31, 2013.

Review: Game of Thrones S2E10 “Valar Morghulis”


“We are the watchers on the Wall.” — Qhorin Halfhand

[spoilers within]

With last week’s explosive ninth episode, “Blackwater”, it was going to take much to make tonight’s season finale to really stand out. Just like the first season’s finale we get an episode that deals with the aftermath of the previous episode and also goes a long way into setting up events for the upcoming third season.

“Valar Morghulis” is the title of tonight’s episode and it’s spoken by Jaqen H’ghar to Arya as the two part ways. It’s a saying in Essos from ancient High Valyrian (a Roman Epire-like civilization which perished centuries before the series’ timeline) that translated means “All men must die”. Jaqen sees potential in Arya in becoming like him, a Faceless Man, assassins who follow the teaching of the so-called Many-Faced Gods. While Arya seems intrigued by the offer her need to re-connect with her family takes precedence over everything else. As the two part ways Jaqen imparts to Arya a coin that should she ever need passage to Braavos to start her journey into becoming a Faceless Man. In another instance that this series still has magic in it’s DNA we finally see why Jaqen is a Faceless Man as he walks away from Arya and her group wearing a new face.

Tonight’s episode lays the foundation that next season magic and sorcery may become more common place than the first two season of the series. We see Daenerys finally make her way into the House of the Undying to retrieve her dragonlings from the warlocks of Qarth. It’s a sequence that’s akin to spirit journey for the Targaryen Queen-to-be and Mother of Dragons as she walks the darkened halls and corridors of the House of Undying until an egress suddenly takes her North of the Wall to find a Dothraki tent where she discovers the two most precious things she has lost since coming to Essos. In what I could only see as a surprise that was kept by showrunners Benioff and Weiss from the press and bloggers (a feat nowadays) Daenerys sees her husband Khal Drogo and who could only be their son both alive and waiting for her.

Her reaction to this event was both poignant and tragic in that she finally has a chance to be with those she loves most but must give up the quest to retake Westeros with her dragons. Her decision to leave the tent and leave behind those she loves comes as her character finally realizing that sentimentality and the needs of her heart must take a back seat and wait. Daenerys comes out the other side a more confident ruler and one whose magic really is stronger than those warlocks who scheme to keep her and her dragons captive for themselves. It really sets up the Daenerys character on a much stronger footing for next season just like last season’s finale did. For all the moping around Daenerys did for most of season 2 the pay off in the end goes a long way into forgiving the show’s writers in their inability to write her character’s motivations consistently. Most likely the naive young girl being used by others for their own agendas and ends would be seen less and less next season while the Mother of Dragons reasserts her authority.

The same can’t be said for one of the five kings vying for control of Westeros. For those who have read the third novel the scenes with King Robb Stark were full of sentimentality but lacking in the cold-hearted logic that rulers must use in order to play the game of thrones successfully. Even his mother, Catelyn Stark, sees danger in Robb’s actions with the Volanti healer Talisa Maegyr. Catelyn knows well enough that Robb could destroy everything he has won and worked for since war begun because he has thought with his heart and not with his head. In what could almost be seen as more doom coming for the House of Stark, Robb cements his relationship with Talisa in secret even though we’ve come to learn through two season of this show that nothing ever remains secret for long.

Back in King’s Landing we see the balance of power shift once more as Tywin Lannister’s opportune arrival to take victory from the jaws of defeat at the end of last week’s episode sees him back as Hand of the King to Joffrey. Tyrion has lost all the advantages he had worked and gamed for all season as even Bronn has been removed as Commander of the Goldcloaks. We’ve not seen Tyrion laid so low as we have in this episode and the horrible scarring of his face looks to go deeper as he finally realizes that as much as he would enjoy running away with Shae and leave the politicla intrigues and backstabbing of the kingdom it’s something that he would miss terribly because it’s the one thing he’s best at. With Tywin now in charge of the kingdom and Petyr Baelish having earned himself the king’s good graces for manufacturing the alliance between the two most powerful houses in the kingdom with the Lannisters (Baratheon by name only) and the Tyrell’s of Highgarden. It’s going to be interesting to see how Tyrion readjusts to the new power dynamics in King’s Landing for season 3. If there’s one thing we’ve come to learn about Tyrion over two season’s worth of episodes it’s that he’s a survivor first and foremost.

Lastly, we come to Jon Snow and his dilemma North of the Wall. A captive of the wildlings and seen as someone very important for the still unseen Mance Rayder the so-called King-beyond-the-Wall, Jon must do the only logical thing (something Qhorin halfhand agrees as the only thing that could save Jon and maybe give him time to warn the Wall) and earn the trust of Ygritte, Rattleshirt and the rest of the wildlings even if it means killing one of his own to do so. In what would be one of several sweeping scenes that show the epic nature of this series lest we forget Ygritte shows Jon over the lip of a glacier the army of wildlings Mance Rayder has gathered.

Yet, it’s not that army that gives tonight’s episode that cliffhanger send-off that last season’s finale did with Daenerys coming out of the funeral pyre with her three dragonlings perched on her unharmed body. No, tonight’s episode gets a cliffhanger that is more ominous and reinforces the House Stark motto of “Winter Is Coming”. We see poor Samwell Tarly (having been abandoned by the two other Night’s Watch Brothers once they heard the three horn blasts in the distance) scared out of his wits as he realizes that the three horn blasts that hasn’t been heard for thousands of years could only mean one thing: the White Walkers are on the march towards the Wall. In a final acknowledgement that as realistically the show has tried to portray the series in terms of warfare and political intrigue there’s no getting away from the fact that magic is still alive in this world born out of George R.R. Martin’s fevered mind as a massive army of undead slouches south towards the Wall and the kingdoms beyond it.

This scene just ups the ante on what we could only imagine what would be season three of the show. Across the Narrow Sea we have Daenerys Stormborn gradually detaching sentimentality from how she operates and this could only mean more bad news for the warring kingdoms of Westeros. The power struggles against King Joffrey looks to be going the mad king’s way as Lannisters and Tyrells ally together to retake the rest of the rebelling kingdoms. Now we have two armies, one living and preparing to go south towards the Wall (most likely to get away from the gathering White Walker horde) and the other undead and also heading towards the only bastion (one that is ridiculously undermanned) protecting the southern kingdoms from a gathering darkness.

If there was a complaint about this season’s storytelling it was that so much of the novel this season was based on was condensed to make it fit in a ten-episode season. Despite lulls in character development with Jon Snow and Daenerys we get major pay-offs for these two with tonight’s season finale. It’s good news that showrunner Benioff and Weiss has decided to split book three, A Storm of Swords, into two with the first half comprising season three with the latter half set aside for season four. Even with missteps along the way tonight’s season finale goes a long way into proving that HBO’s Game of Thrones is currently the best genre show on tv and one of the best tv shows airing now.

Now we have ten months of waiting to see how Westeros and Essos will deal with the events that ended season two. One thing for sure is that we’ll see more people die before all questions get answered if ever.

Review: Game of Thrones S2E08 “The Prince of Winterfell”


“One game at a time my good friend.” — Tyrion Lannister

The second season of HBO’s Game of Thrones has been quite similar to the first season in that for every great episode we get one not so great, but still one that’s needed to help further the season’s narrative to it’s conclusion. This season it’s the effect that the War of the Five Kings has had one everyone from those vying for the Iron Throne to the lowly peasant who must endure the war that has engulfed Westeros. Even the lands of Essos across the Narrow Sea has felt the ripple effect of this war as we see Daenerys Targaryen struggle in her attempts to gain allies in a land content to see the kingdoms of Westeros fight each other into disunity.

Tonight’s eight episode of the season, “The Prince of Winterfell”, was not a great episode but it was crucial in further fleshing out some of the main characters who continues to have an effect on the war. The title itself as meaning one of the Stark sons, but in this episode this label could mean so many characters.

It could mean Theon Greyjoy who has made himself the new Lord of Winterfell as he and his score of Ironborn have forcibly taken the capital of the North a couple episodes back. We’ve seen him play the role of lord, or more like play-act the role, since taking Winterfell, but his decisions since then has made him even more petty than we’ve ever seen him through all of season 1. His behavior is a constant reminder that while he spent most of his life amongst the Starks — as part of his father’s punishment for rebelling against Robert Baratheon — he never picked up the concept of honor fom Ned Stark or through the actions of Ned’s boys. He’s like a spoiled young boy trying to please everyone and show them that he’s worthy of praise when what he’s done just makes him look more and more pathetic to those he’s trying to impress.

The scene between Theon and his sister Yara was quite illuminating in how the former went against his father’s orders and his people’s method of warfare because he envies the sort of respect and influence his sister has over the Ironborn men. Influence that goes against everything Theon thinks how a woman should be and that’s naked and subservient to him, or at least to men. Yara doesn’t resent her brother and actually cares for him in her own fashion. She even understands why he does what he does and how their shared experiences with their father, Balon Greyjoy, binds them closer than Theon would like to think.

Theon has been given chances and opportunities to think things more logically and with a keen mind, but he has squandered all these chances (one even coming from the sister he thinks doesn’t respect him) and just continues to dig the proverbial grave he might just find himself in. He may be the Lord and Prince of Winterfell now, but only he seems to believe that to be true.

On the other hand, we have Robb Stark down south, King of the North by his bannermen’s acclaim, but still just a Prince of Winterfell who would like nothing but to return to his birthplace and take up the duties now given onto him by the death of his father. He would rather return to guarding the North and supporting the Night’s Watch aat the Wall than continue to fight a war that he has lost much desire to fight. But he knows he must continue his campaign against King Joffrey and the Lannisters. Too much blood has been spilt by men under his banner and the honor and duty he learned from his father means he must set aside sentimental things (like running back North to retake Winterfell and free his younger brothers). The fact that he understands the damage Catelyn’s actions in regards to the Kingslayer and his orders to have her guarded like a prisoner means he has learned to set aside familial feelings for the greater good.

Robb Stark has learned much to be like his father and while much of it has been to his advantage in prosecuting the war and keeping his alliance of bannermen together he has also picked up his father’s flaw of allowing his heart to dictate an action that may just jeopardize everything he has gained since the war began. Even knowing that he’s arranged to marry one of the Frey daughters as price to move his army down south his feelings for Talisa (the camp chirurgeon and a lady of Volantis herself) finally overrides his reason and duty. For those who have read the book this scene was both touching and maddening. For those who have never read the book this scene will still be touching in that Robb followed his heart, but also maddening in that he puts in danger the alliances with the important House of Frey to satisfy his heart.

The rest of “The Prince of Winterfell” was more about moving the pieces on the board closer to that inevitable clash between the armies of Joffrey at King’s Landing and Stannis Baratheon with his fleet bearing down on the capital. All these build-up scenes added to subplots that has grown since the beginning of the season. If there was one sequence that seemed very out of place and felt like just spinning wheels in place it would be with Daenerys at Qarth as she once again agonizes about her kidnapped “babies” and how she must get them back. Now that she knows that the warocks of Qarth have the dragonlings sequestered in the Tower of the Undying one would think she would have tried to get them back, but instead we get more scenes of her and Jorah debating on the need to have the dragon’s back. While this part of the season doesn’t come close to being the “Sophia in the Barn” frustrating it’s getting close.

We now have two more episodes left in the season and it looks like the Battle of Blackwater Pass from the novels may just arrive with the next episode. Will Tyrion be able to beat back Stannis’ siege of King’s Landing? Will Theon survive the season as Lord of Winterfell? Will Robb’s actions with Talisa destroy everything he has built since the war began? There’s so much questions and with two episodes left it will be quite the juggling act for the show’s writers to answer them all without having them seemed rushed.