Hon utnyttjade ju bara sir Christon för sex, hon ville ju ha sin farbror.
Så varför skulle hon vilja föda sir Christons barn?
Hon kunde ju föda två av Strongs ungar så man vet aldrig.
Rent tekniskt skulle väl faktiskt det förstfödda barnet kunnat vara Cristons, men tidsförloppet stämmer väl inte då antar jag eftersom det gått för lång tid sedan de knullade.
Från George R.R. Martins senaste blogginlägg, han verkar vara väldigt nöjd med serien.
HOUSE OF THE DRAGON has helped brighten my Sundays as well. I mean, I cannot really review the show, that would be crazy, I am hardly objective… but I do want to commend Ryan Condal and Miguel Sapochnik and the cast and crew for the work they’ve done. Sunday’s episode, “Lord of the Tides,” was everything I hoped it should be. Kudos to Eileen Shim, the scriptwriter, to Geeta Patel, the director, to our incredible cast… and particularly to Paddy Considine, for his portrayal of King Viserys, the First of His Name. The character he created (with Ryan and Sara and Ti and the rest of our writers) for the show is so much more powerful and tragic and fully-fleshed than my own version in FIRE & BLOOD that I am half tempted to go back and rip up those chapters and rewrite the whole history of his reign. Paddy deserves an Emmy for this episode alone. If he doesn’t get one, hey, there’s no justice. Meanwhile, I am going to give Archmaester Gyldayn a smack for leaving out so much good stuff.
(No, I am not really going to rewrite FIRE & BLOOD, that was a jape). ((And no, I am not going to assault Archmaester Glydayn, who does not actually exist. I made him up)).
I wanted to address the “time jumps” in the HOUSE OF THE DRAGON too. Not with any kind of official “statement,” but with some musings on the subject. There’s a lot to be said. I do not have the time to say it now, though. Maybe in my next blog, or the one after that… or maybe never, since work keeps piling up.
Very briefly, however, I think Ryan has handled the “jumps” very well, and I love love love both the younger Alicent and Rhaenyra and the adult versions, and the actresses who play them. (Truth be told, we have an incredible cast, and I love all of them). Do I wish we’d had more time to explore the relationship between Rhaenyra and Ser Harwin, the marriage of Daemon and Laena and their time in Pentos, the birth of various and sundry children (and YES, Alicent gave Viserys four children, three sons and a daughter, their youngest son Daeron is down in Oldtown, we just did not have the time to work him in this season), and everything else we had to skip? Sure.
But there are only so many minutes in an episode (more on HBO than on the network shows I once wrote for), and only so many episodes in a season. Fewer and fewer as time goes by, it seems. When I was a boy, shows had 39 episodes a season. By the time I was writing for BEAUTY AND THE BEAST, it was down to 22. Cable shrunk that even further. THE SOPRANOS had 13 episodes per season, but just a few years later, GAME OF THRONES had only 10 (and not even that, those last two seasons). If HOUSE OF THE DRAGON had 13 episodes per season, maybe we could have shown all the things we had to “time jump” over… though that would have risked having some viewers complain that the show was too “slow,” that “nothing happened.” As it is, I am thrilled that we still have 10 hours every season to tell our tale. (RINGS OF POWER has only 8, as you may have noticed, and my AMC show DARK WINDS is doing 6 episode seasons). I hope that will continue to be true. It is going to take four full seasons of 10 episodes each to do justice to the Dance of the Dragons, from start to finish.
But right now, Ryan Condal’s focus is on HOT D season two, and mine is on THE WINDS OF WINTER.
Från George R.R. Martins senaste blogginlägg, han verkar vara väldigt nöjd med serien.
HOUSE OF THE DRAGON has helped brighten my Sundays as well. I mean, I cannot really review the show, that would be crazy, I am hardly objective… but I do want to commend Ryan Condal and Miguel Sapochnik and the cast and crew for the work they’ve done. Sunday’s episode, “Lord of the Tides,” was everything I hoped it should be. Kudos to Eileen Shim, the scriptwriter, to Geeta Patel, the director, to our incredible cast… and particularly to Paddy Considine, for his portrayal of King Viserys, the First of His Name. The character he created (with Ryan and Sara and Ti and the rest of our writers) for the show is so much more powerful and tragic and fully-fleshed than my own version in FIRE & BLOOD that I am half tempted to go back and rip up those chapters and rewrite the whole history of his reign. Paddy deserves an Emmy for this episode alone. If he doesn’t get one, hey, there’s no justice. Meanwhile, I am going to give Archmaester Gyldayn a smack for leaving out so much good stuff.
(No, I am not really going to rewrite FIRE & BLOOD, that was a jape). ((And no, I am not going to assault Archmaester Glydayn, who does not actually exist. I made him up)).
I wanted to address the “time jumps” in the HOUSE OF THE DRAGON too. Not with any kind of official “statement,” but with some musings on the subject. There’s a lot to be said. I do not have the time to say it now, though. Maybe in my next blog, or the one after that… or maybe never, since work keeps piling up.
Very briefly, however, I think Ryan has handled the “jumps” very well, and I love love love both the younger Alicent and Rhaenyra and the adult versions, and the actresses who play them. (Truth be told, we have an incredible cast, and I love all of them). Do I wish we’d had more time to explore the relationship between Rhaenyra and Ser Harwin, the marriage of Daemon and Laena and their time in Pentos, the birth of various and sundry children (and YES, Alicent gave Viserys four children, three sons and a daughter, their youngest son Daeron is down in Oldtown, we just did not have the time to work him in this season), and everything else we had to skip? Sure.
But there are only so many minutes in an episode (more on HBO than on the network shows I once wrote for), and only so many episodes in a season. Fewer and fewer as time goes by, it seems. When I was a boy, shows had 39 episodes a season. By the time I was writing for BEAUTY AND THE BEAST, it was down to 22. Cable shrunk that even further. THE SOPRANOS had 13 episodes per season, but just a few years later, GAME OF THRONES had only 10 (and not even that, those last two seasons). If HOUSE OF THE DRAGON had 13 episodes per season, maybe we could have shown all the things we had to “time jump” over… though that would have risked having some viewers complain that the show was too “slow,” that “nothing happened.” As it is, I am thrilled that we still have 10 hours every season to tell our tale. (RINGS OF POWER has only 8, as you may have noticed, and my AMC show DARK WINDS is doing 6 episode seasons). I hope that will continue to be true. It is going to take four full seasons of 10 episodes each to do justice to the Dance of the Dragons, from start to finish.
But right now, Ryan Condal’s focus is on HOT D season two, and mine is on THE WINDS OF WINTER.
Riktigt långsam startsträcka men nu börjar det ta sig. Bästa avsnittet hittills, där konceptet "klaustrofobiskt kammarspel" verkligen kom till sin rätt. Sedan är det förstås lite märkligt att vissa åldras femtio år mellan avsnitten medan andra förblir unga.
Nu gav jag upp på den här serien, har sedan episod 2 hela tiden varit uttråkad men fortfarande sett vidare.
Kollade kanske 20 min av senaste episoden, och bara dör av de trista dialogerna, avsaknaden av humor, de tysta viskande 100 minuters pratstunderna, allt går i moll och det känns som att världen är död och alla hatar att leva.
Fy fan vad trist serie.
Kan inte annat än hålla med. Tycker den är tiktigt usel.
Är det någon som kan förklara för mig vart budgeten tog vägen? Denna serien har dubbel budget per episod jämfört med Game of Thrones, men har en scenografi, manus och regi som luktar lågbudget rakt igenom.
Är det någon som kan förklara för mig vart budgeten tog vägen? Denna serien har dubbel budget per episod jämfört med Game of Thrones, men har en scenografi, manus och regi som luktar lågbudget rakt igenom.
HBTQ-certifiering och klimatsmarta kulisser är långt ifrån gratis.
Är det någon som kan förklara för mig vart budgeten tog vägen? Denna serien har dubbel budget per episod jämfört med Game of Thrones, men har en scenografi, manus och regi som luktar lågbudget rakt igenom.
Dubbel budget jämfört med vilken säsong? Kanske säsong 1-4 eller liknande, men inte de sista säsongerna av GOT.
Men troligtvis har pengarna gått till CGI för drakarna och bygga upp organisationen runt serien?
Sen så filmades serien under covid restriktionerna i Storbritannien. Så de har tvingats att filma mycket i studio istället för på plats.
Sen så läste jag att HBO:s marknadsföring av serien är den dyraste de har gjort för att locka tillbaka alla som blev pissade på av Dum och Dummare. Så kanske en del av budgeten gick dit?
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Senast redigerad av Jagge11 2022-10-13 kl. 12:34.
