Thursday, October 31, 2019

Emilia Clarke makes the rounds on late-night and morning shows, talks Daenerys Halloween costumes and the infamous coffee cup

Caption

Emilia Clarke does her best impression of Kit Harington’s dance moves on an Oct. 30 appearance on “The Tonight Show.”

Oh, Emilia Clarke…your most famous character may have gotten a lousy death (don’t @ me), but you’re always such a joy to watch in interviews! Fortunately for us, it’s something she’s been doing a lot of lately as she makes the press rounds for her upcoming holiday rom-com, Last Christmas.

On the morning of Oct. 30, Clarke appeared on Good Morning America, where she was asked what it’s like to know that a character she made so famous is still a popular choice for Halloween costumes. Clarke said that since Halloween isn’t celebrated “quite the same way” in the UK as it is in America and she hasn’t seen many Daenerys costumes in person, “if I saw myself on the street, I’d probably run.”

That same night in an appearance on The Tonight Show Starring Jimmy Fallon, Clarke seemingly solved the mystery of who left the infamous coffee cup on the table during Season 8’s Episode 4, “The Last of the Starks” — a major gaffe that Sophie Turner tried to pin on Clarke on an appearance on Fallon’s show in May. Clarke refuted this, instead placing the blame on none other than the Spider himself, Conleth Hill.

“‘Emilia, I’ve gotta tell you something, love — the coffee cup was mine!'” Clarke told Fallon, relating what Hill apparently told her at an Emmys after-party this year. He apparently confessed to the whole thing, also apologizing for letting everyone think it was hers.

Mystery solved, or at least until Hill disputes this account? He’s already betrayed his queen once, though — who’s to say he won’t throw her under the bus a second time? Later in the interview Clarke also does a wonderfully spot-on imitation of Kit Harington‘s “poncey” (read: somewhat douchey) dance moves and Jason Momoa‘s haka-inspired ones; the whole interview is only about five minutes long and very worth your time.

Lastly, in a interview alongside Last Christmas co-star Henry Golding, Clarke touched on the “epic” Game of Thrones cast reunion at this year’s Emmys, singer Camilla Cabello bending the knee (yes, really) and relating to her Last Christmas character, Kate, and her health issues.

If you’re interested, Last Christmas arrives in theaters on Nov. 8, — and in the meantime, you can amuse yourself with all three of these clips!

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His Dark Materials: James McAvoy filled in as Lord Asriel at the last minute

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Game of Thrones Halloween costume parade!

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Stranger Things blooper reel reveals David Harbour can’t say “grandma”

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New Witcher photos reveal that one of the stars also directs!

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Emilia Clarke reveals who left that coffee cup on set

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The Batman has found its Commissioner Gordon: Jeffrey Wright

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The Witcher finally gets a release date, plus a new trailer

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Qyburn Actor Anton Lesser Joins Con of Thrones Special Guest Lineup!

Con of Thrones COT 2020 Anton Lesser Special Guest Qyburn

We honestly can’t think of more Halloween-appropriate news for today: Con of Thrones has just announced today that Games of Thrones actor Anton Lesser, who from season three onwards memorably played Qyburn, disgraced necromantic maester turned Hand of the Queen, will make an appearance at Con of Thrones 2020!

Lesser will be a special guest at the convention on Friday, July 17, and Saturday, July 18. Con of Thrones, the premier convention for fans of Game of Thrones, A Song of Ice and Fire, and the epic worlds of fantasy author George R. R. Martin. Con of Thrones will take place in Orlando, Florida, at the Orange County Convention Center July 17–19, 2020. Tickets are available for purchase now at conofthrones.net/register.

Autograph and photograph experiences with Lesser are available for purchase now. Autographs are $30 and photographs are $45.

Con of Thrones will host in-depth discussions about both the television and book series, Special Guest Spotlight interviews, live recordings of fan-favorite podcasts, and much more. Previous guests include Game of Thrones stars Nikolaj Coster-Waldau (Jaime Lannister), Joe Dempsie (Gendry), Jerome Flynn (Bronn), Hannah Murray (Gilly), Iwan Rheon (Ramsay Bolton), Miltos Yerolemou (Syrio Forel), Sibel Kekilli (Shae), Kate Dickie (Lysa Arryn), Esmé Bianco (Ros), Kerry Ingram (Shireen Baratheon), Sam Coleman (Young Hodor), Aimee Richardson (Myrcella Baratheon), and Emmy Award-winning Sound Designer Paula Fairfield. Con of Thrones also provides opportunities for autographs and photographs with some of the most familiar faces from Game of Thrones.

Con of Thrones is produced by Mischief Management, while Watchers on the Wall is the official programming partner. Special guests and additional details will be announced at a later date!

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Game of Thrones showrunners left Star Wars in part due to Netflix-Disney drama, “toxic fandom”

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George R.R. Martin interested in writing for House of the Dragon…after he finishes his book

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Rebecca Ferguson (Lady Jessica) on how Denis Villeneuve is updating Dune

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Harry Potter Instagram reveals interesting tidbit about Voldemort’s Horcruxes

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Wednesday, October 30, 2019

George R. R. Martin Answers House of the Dragon Questions & Raises a Few More

Mandatory Credit: Photo by Jose Mendez/Epa/REX/Shutterstock (8462326b) Us Writer George R R Martin Attends a Press Conference During the 30th Edition of the Guadalajara International Book Fair (fil) in Guadalajara Mexico 02 December 2016 Mexico Guadalajara Mexico Literature - Dec 2016 US writer George R.R. Martin attends a press conference during the 30th edition of the Guadalajara International Book Fair (FIL), in Guadalajara, Mexico, 02 December 2016.

Photo by Jose Mendez/Epa/REX/Shutterstock

It’s been a roller coaster few days for Game of Thrones fans, that’s for damn sure. First, it was announced that series creators David Benioff and Dan Weiss were departing their upcoming Star Wars trilogy to devote their attention to their Netflix projects. Then, I broke down in sobs as I learned that Bloodmoon was not being ordered to series. Several hours later, it was announced that a brand new, unannounced show, House of the Dragon, was ordered to SERIES without a pilot. And all this was amidst the reports of an allegedly disastrous interview David and Dan gave at the Austin Film Festival (I want to stress that these were untrue, as Luka attested when dissecting the actual recording). Yes, it’s been a wild week, everyone, and it’s still only Wednesday. So what did the one true god of Westeros and Essos have to say? Join me, and let GRRM lead the way…

“[Miguel] Sapochnik will be directing the pilot… well, maybe it is more precise to call it ‘the first episode’… of HOUSE OF THE DRAGON, and doubtless a number of other episodes as well. There’s no one better.” I’m not sure how much “doubtless a number of other episodes” suggests, but I’m sure time will tell. There’s no way to predict that far in the future. What is interesting is that, while Miguel Sapochnik was unquestionably one of the strongest directors from the entire ranks of GOT, he was usually brought into handle episodes feature massive battle sequences. So, unless the pilot will start with a bang and a battle (unlikely, I’d venture), it will be nice to see how Miguel handles the smaller stuff. I’m sure I’m not the only one who’d argue that I hope this series focuses less on the fire and the blood and more on the talking and the political machinations. While I of course can’t wait to see the climactic heights of the Targaryen civil war, and the FX that will surely come with it, I long for the smaller, talkier scenes. I can’t wait to see what Miguel does with the lower key stuff now that he’ll (presumably) have the opportunity to do so.

“[Co-showrunner Ryan Condal] tells me that he discovered the series just after A STORM OF SWORDS was published, and ‘I’ve loved the books for 19 years.’ (He is also a huge fan of my Dunk & Egg stories. In fact, that was the show he wanted to do initially, but I’m not prepared to bring Dunk & Egg to television until I’ve written quite a few more stories).” Wow. So it looks like Ser Duncan and his loyal squire won’t be appearing on our TV screens anytime soon. George has often talked about how he has plans to write more about Dunk and Egg’s adventures, so I wonder if he’s now formulating them with a potential series in mind.

George goes on to mention that the writer’s room, budget, and locations are yet to be assembled, but he presumes production will revisit at least some of the many locations GOT frequented. He even suggests that he may get to write some episodes, but before you article in a fiery rage to go send him some hate mail, please read his cautionary reminder:

“…let me make this perfectly clear… I am not taking on any scripts until I have finished and delivered WINDS OF WINTER.  Winter is still coming, and WINDS remains my priority, as much as I’d love to write an episodes of HOUSE.”

Lastly, and most importantly, he weighs in on what happened with Bloodmoon, or as he (and much of the Internet) had been calling it, The Long Night:

It goes without saying that I was saddened to hear the show would not be going to series. Jane Goldman is a terrific screenwriter, and I enjoyed brainstorming with her. I do not know why HBO decided not to go to series on this one, but I do not think it had  to do with HOUSE OF THE DRAGON. This was never an either/or situation. If television has room enough for multiple CSIs and CHICAGO shows… well, Westeros and Essos are a lot bigger, with thousands of years of history and enough tales and legends and characters  for a dozen shows. Heartbreaking as it is to work for years on a pilot, to pour your blood and sweat and tears into it, and have it come to nought, it’s not at all uncommon. I’ve been there myself, more than once. I know Jane and her team are feeling the disappointment just now, and they have all my sympathy… with my thanks for all their hard work, and my good wishes for whatever they do next.

He does have a bit more to say about it, so I’d really recommend checking out his full post. I’m curious why he believes that it had nothing to do with HOTD, but I think he just feels as upset about it as we do, and his sorrow is palpable. And now, like you all, I very much hope the next writing of George’s that I read is not in blog post form…

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How Patrick Stewart’s experience on Logan inspired him to return to Star Trek

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Pixar debuting six original shorts on Disney+ on Day 1—Watch the trailer

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Was the Sony/Marvel Spider-Man drama just hype?

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Game of Thrones prequel will focus on Targaryen civil war, have 10-episode first season

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What showrunners Benioff & Weiss actually said about writing and producing Game of Thrones at Austin Film Festival

David Benioff, George R. R. Martin and D.B Weiss at Season 8 NYC Premiere. Photo by Jeff Kravitz/FilmMagic for HBO.

David Benioff, George R. R. Martin and D.B Weiss at Season 8 NYC Premiere.
Photo by Jeff Kravitz/FilmMagic for HBO.

It’s been a crazy couple of days for Game of Thrones news, hasn’t it? The showrunners jump from Star Wars to Netflix; the prequel pilot is cancelled; and a prequel concept with no pilot is given a full season order instead! During all of this hullabaloo, there was also a controversial talk with showrunners David Benioff and Dan Weiss at Austin Film Festival, where they discussed their decade-long learning experience as producers and writers on the show. Why should that cause any controversy? Well, let’s find out!

The polemic wasn’t so much due to what Benioff and Weiss said, but more due to what as of a few days ago was the only existing account of the talk: a live-tweeted thread by someone with a rather obvious axe to grind. Personally, even before being able to listen to the original audio, I could tell some of the statements sounded strange coming from Beniof and Weiss; after a thousand interviews, they repeat themselves a lot. Once I got ahold of the audio, it turned out my suspicions were… not wrong.

Basically, that Twitter thread showed them in the most terrible light possible, often by quote-mining the writing pair or mischaracterizing their jokes as genuine statements; and a few damning times even outright misquoting them. The audio that’s surfaced since isn’t of a great quality, but I’d argue it’s preferable to an erroneous account:

At the start, Benioff and Weiss are asked to explain how they broke the first season as writers and how they approached adapting George R.R. Martin’s books:

“When we were outlining season one, and at that point it was just the two of us and Bryan Cogman, we’d start putting scenes out in index cards on the board, as you do; with different colors for each plotline,” Benioff explained, and Weiss took over: “At one point we had 112 different colors on the board. I remember looking at it and wondering ‘Is this actually going to make sense to anybody? Is this going to be something people can follow?’ When we started, we knew what we were up against; George wrote these books to be unproducible. There’s a long story about why, which we discussed in the last panel we did, but the point is he didn’t write it with television producibility in mind, so we knew we were facing questions about the carrying capacity of the television show; how much can you have happening without losing people.”

“Later, when George’s books continued to grow, there were places where we just had to compress and condense to make it producible for television,” Weiss continues, “just because if we’d included all the characters that were in the books we’d be running up against a situation in which people would be dropping the balls of the Tyrions and the Danys and the Aryas; the characters they care about. At that point we stopped putting pieces on the board for the most part.”

In terms of the show’s faithfulness to the source material, Benioff argues “the first season was actually quite faithful to the first book. The second season maybe 10% less. Every season’s gotten a little bit less faithful, just because the scope of George’s story kept getting so much bigger and bigger.”

“I think Steve Martin said something to the effect of ‘Every adaptation process is like a marriage that ends in divorce.’ Sometimes they’re amicable divorces. Sometimes they’re ugly divorces. You always start with the best intentions, to be faithful forever, and then you start to have some other ideas, you start to stray a little bit. In a way, given the scope of what George created, I think we had with what ended up being a very amicable divorce from the source material; because we ran out of it,” he says jokingly. Weiss, in turn, then adds: “Even before that, the carrying capacity of a television show is not the same as that of a book.”

Regarding the original pilot, which famously had to undergo heavy re-shoots, Dan explained that “as a television show, it was the kind of show that was a film/TV hybrid, in a lot of ways [acting as a film] in terms of the production design, the shooting schedule, all of that stuff; but it needed to be done in a TV budget and timeframe. So everyone involved was figuring out how to make something like this for the first time, and it just took one more than one try. We were given a second chance, though they were probably about 50/50 on whether or not to give us that chance.” Though it was a new process for everyone, Benioff doesn’t want to pass the buck: “We were the showrunners, so if the show’s not working, we screwed it up.”

Though they were experienced writers before the show, David and Dan had to learn to communicate their ideas as first-time producers, as Weiss describes it: “We knew about story, we knew about character, and we knew tone, and how we wanted it all to feel, but all the rest of it we had to learn; and translate what we felt into words that would, say, lead a production designer in the direction that would produce the result we wanted.”

An age-old anecdote about the show is that the first season came up short and they had to write additional scenes, but I’m not sure it’s ever been said why that happened in the first place. It turns out the original scripts were timed correctly to fill what HBO required, and they only came up short because the production started running out of money for certain expensive scenes, such as the Battle of the Green Fork with Tyrion and the Mountain. Since they had to cut that and similarly expensive sequences, they had to resort to creating the famous one-on-one conversation scenes they added later, such as the private chat between Robert and Cersei:

“They tended to be two- or three-handers; people in rooms talking, scenes they could just shoot in a morning,” Benioff said. “It was terrifying at first, but then it became fun. Because of their nature, these scenes weren’t plot points; the plot-driven scenes were already in there. So these were scenes that had to be interesting enough to justify their existence but didn’t really move the plot forward,” Benioff said. “These scenes weren’t in the book. This was the first time we deviated at all from the central narrative. By that point, we’d gotten to know the characters a lot better, we’d gotten to work with the actors for months, so their voices were in our heads when writing.”

Arya Season 1

At this point in the talk, we arrive at a point whose reaction stumped me the most. The writers have often described how the actors’ performance has shaped their characters, which I see as a laudable artistic collaboration between writer and performer:

“As you get to know Maisie, as you get to know Sophie, and everybody, they find their way into the character,” Weiss illustrated. “It’s like they redecorate the house you gave them, and, after a couple of seasons, in some cases it doesn’t even resemble the house that they moved into. They’ve done their work on it. You’re following their lead as much as they’re following your lead. They’re creating the psychological nuances of their character as much as you are on the page.”

Unfortunately, some people apparently see this perspective as sacrilege; as if they were leaving sacred source material to chance. But that’s not the case. Actors aren’t just marionettes hired to perform a reader’s or writer’s imagined version of a character; part of their role is shaping the character, even if it results in deviation from the source material. I can’t help but see this as a positive element of cinema and television, which is made in collaboration between sometimes hundreds of artists, instead of a single writer.

Additionally, you may have heard that David & Dan wanted to “remove” as many fantasy elements as possible because that wasn’t “the type of fan” they wanted to appeal to. It’s also been reported that Weiss (rather misogynistically and paternalistically, if I say so myself) stated that they wanted to appeal to “mothers,” as if mothers were unable to enjoy fantasy. Thankfully, that’s very much not what they said:

“With the fantasy genre on television, tonally it’s very easy [go too] campy. Every scene, you change these two lines and it’s Monty Python and the Holy Grail,” Weiss jokes. “Also, in terms of fantasy exposition, with proper nouns, it’s almost like a game of Jenga, where you’re trying to plow as many of them as possible without the whole thing falling over. In the first pilot, we had one too many and the whole thing fell over. Going forward, we tried to keep that stuff to a minimum, because we didn’t just want to appeal to a fantasy fanbase. We wanted them to love it, and we wanted our parents to love it, and people who play professional football to love it. We wanted to reach a wider audience, and to do that keeping the tone [under control] was very important.”

Weiss later adds that when they first pitched it to HBO, they just didn’t tell them about all the fantasy elements, though David and Dan obviously were very much aware of them and in favor of including them: “We told them ‘This isn’t about a million creatures fighting a million other creatures. This is about people.’ We knew, having read the four books that existed at that point and also just being able to extrapolate the future of the story, that it was gonna turn into exactly what we promised HBO it wasn’t.”

In a similar vein, discussing Craster’s baby boy brought by the White Walker north and put on an altar of ice, in that famous season four scene that one could argue was the first to pass the books, the showrunners say they’ve never been more stressed; not because of the Night King, but because the baby was real. You might’ve read that Dan said that “the mother was not happy because Dan just kept talking about a close-up of the baby’s penis,” which is quite strange, or perhaps even concerning. What Dan actually said was a funny, self-aware anecdote about the fact that they had to establish that the baby was a male, since only Craster’s boys were taken by the White Walkers, so he loudly said so on set, which understandably made the mother uncomfortable.

“The two of us and [Director] Miguel [Sapochnik] talked a lot, exhaustively and exhaustingly, about the importance of shooting the battle from a point of view,” Weiss said about planning the famous Battle of the Bastards. “We wanted everything to be from someone’s potential point of view, if possible, because that’s what prevents a special effects-driven battle from having that certain video game quality. That happens because the camera can do anything; there’s no real camera a lot of the time, so when you can do anything, you do anything. You’re sweeping around with this God’s-eye point of view of a camera that doesn’t exist in a set that doesn’t exist, and it starts feeling fake. We wanted to pin it to a character and make it feel like this isn’t the experience of this battle; this is the experience of Jon Snow’s experience of this battle.”

Jon Snow Battle of the Bastards 609 Winterfell

As for the value of considering other people’s feedback, Benioff didn’t egotistically dismiss it outright, as you might have read, but instead said that they “realized at a certain point that it would drive us crazy” to check everyone’s opinions online, and that it wouldn’t have the intended effect. That’s not to say they believe themselves to be infallible: “Good things are done by groups of people: [the show wasn’t done by] two people or four people, but probably two hundred people, [all of them] essential, working together. But I don’t know about the value of a committee of ten million people.”

Finally, neither of them said they “didn’t try to understand the books major elements,” or even dismiss themes per se, as Benioff has been quoted as saying (out of context.)

“There’s this famous Russian poet who read his poem and someone in the audience said, ‘You mind explaining the poem?’, and so he re-read the poem, and that was his response. That’s it,” Benioff said. “[A Song of Ice and Fire] is such a complex story that I don’t think we ever tried to [boil it down.] You kind of have to have a prepared answer –‘It’s about power, and family,’ and that’s all true; it is about power, it is about family. But I think it’s also true that two shows can have the same themes and be wildly different, and one’s good and one’s bad, and honestly it’s about the complexities they try to depict, it’s the characters. To try to cram it into a single aphorism isn’t helpful for me. There are other writers I know and respect who feel very differently, and operate differently, but for both of us, it’s not the way we work.”

As I have said elsewhere, David Benioff and Dan Weiss are not favorite people of mine. I don’t think I’d like to be their friends; and it is undoubtedly frustrating to see them admit their initial inexperience (however self-aware and self-deprecating they may be) while having way more opportunities than anyone who isn’t rich, cis, het, white, and/or a man (I, for one, certainly hope “House of the Dragon” has a proper writers room with a wider and more diverse set of voices.) All of that is true (though, perhaps more relevantly to this discussion, it’s always been true; even before the ending to their series was widely disliked.)

Nevertheless, the tone of that original account on Twitter, in which David and Dan were made to look like they were speaking about their ignorance and inexperience with a frustrating happy-go-lucky lack of self-awareness, is just not reflective of reality. If you don’t believe my transcription, feel free to listen to the original audio. I don’t think any reasonable person would conclude they are speaking mockingly, or lacking awareness about their failings. In fact, I would argue what anyone who’s ever listened to them before must have known before being able to listen to the audio: Benioff and Weiss are always self-deprecating, often to the point of it being awkward, and always with the explicit purpose of crediting the rest of the producers, cast and crew, most of whom have nothing but good words for them as showrunners.

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Jon Favreau compares The Mandalorian to Game of Thrones

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Paul Feig is reviving Universal’s Dark Universe? But why?

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Outlander is doing reshoots on season 5

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Game of Thrones prequel Bloodmoon reportedly had a “troubled” production

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Kristofer Hivju (Tormund) plays his own twin in new movie, and more celeb stuff

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The Witcher author thinks Netflix show can equal or surpass Game of Thrones

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Everything you need to know about HBO Max

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What we want to see in HBO’s Game of Thrones prequel about the Targaryens

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Tuesday, October 29, 2019

Targaryen Game of Thrones prequel gets a name and full series order!

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HBO Orders a Full Season of Game of Thrones Spinoff “House of the Dragon”!

house of the dragon

Never mind that it ended five months ago: Game of Thrones rules the world. Today has been absolute chaos, with fandom discourse over the infamous Austin Film Festival interview and the news that the Naomi Watts-starring “Bloodmoon” prequel spinoff was officially dead. The internet has been on fire with discussion about the future of Westeros, the ramifications for Benioff and Weiss (and Star Wars!) and fans wondering if George RR Martin’s creation had any future left on television at all.

HBO answered that last question resoundingly with a huge announcement tonight. The spinoff announced in development in September focusing on the Targaryen Civil War (commonly called The Dance of the Dragons) is not only getting a pilot- it’s moving forward with a full-series order! The new show’s title: House of the Dragon!

Entertainment Weekly confirmed the new details. House of the Dragon will have ten episodes. As announced previously, it was co-created by author George R.R. Martin and Ryan Condal, a showrunner on the new series. Beloved GoT director Miguel Sapochnik will be a co-showrunner and he’ll be directing the pilot.

As the poster notes, the series takes its cues from Martin’s Fire and Blood, his tome of Targaryen history, with events set hundreds of years before the era of Game of Thrones. EW confirms The events in the new series will eventually lead up to The Dance of the Dragons, a massive civil war in the Seven Kingdoms held between two rival branches of House Targaryen.”

They also confirm that “the news was announced at WarnerMedia’s presentation to investors on Tuesday focused on the launch of its 2020 streaming service HBO Max.”

And here I was set to make an impassioned yet pointless plea for a Dunk & Egg series. House of the Dragon, hell yeah! Let’s get started with the fancasting!

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Maggie could return to The Walking Dead this season

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Even more Star Trek: Next Generation alums coming aboard Picard?

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Game of Thrones Spinoff “Bloodmoon” Reportedly Not Moving Forward

Photo by Joel Ryan

Photo by Joel Ryan

In a move that not even Varys or Littlefinger could have predicted, Deadline is reporting that the Game of Thrones prequel, which was to be headlined by Academy Award nominee Naomi Watts, is dead in the water. While as many as five spinoffs were once said to be in development, the one that had gained the most traction was the one set during the Age of Heroes. A pilot had been filmed, and we’ve been tracking its progress rather diligently, with updates slowly trickling in. While a filmed pilot is by no means a guarantee that a show will go to series, we were all pretty sure that with the eyes of the world on GOT, the hunger for more (by both the fans and the HBO execs) would only grow larger. And yet….

Right now, reports suggest that showrunner Jane Goldman has been emailing the cast and crew to let them know the devastating news, but it should be noted that it has not yet been confirmed by HBO. We can only speculate at the time being what led to this show’s alleged cancellation. It could be behind the scenes drama, or it could be set or even cost concerns (though unlikely). Reportedly, HBO hadn’t been thrilled with the cut they saw and had requested edits…but even with that, I would still have not expected an outright cancellation of the project!

As recently as mid-September, A Song of Ice and Fire creator George R. R. Martin indicated in a blog post that he would soon see the rough cut of the pilot, and that his earlier behind-the-scenes look had been “spectacular.” He also noted at that time that we were getting closer to the Targaryen-centered spinoff. So, could the rumor mill take us towards an assumption that HBO might be turning tide and putting their eggs in the Targaryen basket? I honestly don’t know, but it seems unlikely to me, given that the Targaryen show has not even been given so much as a pilot order, so they’d be literally comparing a completed episode of television vs. unfilmed text. I know only that as soon as I saw this news and flocked here to start writing this article, my jaw has been agape and still is, even while writing these final sentences. I was immensely excited for this project, and am currently devastated, and rather unsure of what to think. We’ll update this once we get a confirmation from HBO regarding its cancellation.

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Game of Thrones prequel series with Naomi Watts not happening

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Liam Cunningham (Davos Seaworth) defends Game of Thrones season 8

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The Witcher cast and crew explain a new character, Dara

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The Walking Dead stars cut ties with Walker Stalker Con

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Let’s go through the new Mandalorian trailer shot by shot

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Ommegang’s My Watch Has Ended brown ale is a worthy finish

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Thirteen terrific Lord of the Rings tattoos

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The team behind Sherlock brings you…Dracula—Watch the teaser

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Game of Thrones showrunners Benioff & Weiss jump from Star Wars to Netflix; Deb Riley chooses her favorite set designs

Producer Bernie Caulfield with showrunners D.B. Weiss (left) and David Benioff (right)

Producer Bernie Caulfield with showrunners D.B. Weiss (left) and David Benioff (right)

When the news recently broke that Game of Thrones showrunners David Benioff and Dan Weiss had signed a deal with Netflix rumored to be “in the 9-figure range, worth as much as $300 million, spanning 5 years,” many of us wondered how they could possibly find the time for their upcoming Star Wars films, which had been quietly announced just a few months beforehand. As it turns out, the answer is that they could not.

Deadline had the exclusive: the showrunners’ deal with Lucasfilm to create a new Star Wars trilogy, which was set to begin in 2022, is off due to their new Netflix deal:

“We love Star Wars,” David and Dan told 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. 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, so we are regretfully stepping away.”

Meanwhile, Lucasfilm president Kathleen Kennedy wasn’t as final about it, insinuating they could eventually come back–when they have the time, that is: “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.”

Meereen Throne Room Audience Chamber Season 4 Daenerys

In other news, Deborah Riley, production designer for Game of Thrones from season four onward, just did a really nice, technically-minded interview for Backstage magazine in which she discusses what her work as a production designer on the show means and, in retrospect, what her favorite designs and finished sets turned out to be:

“To this day, I still get quite emotional thinking about the Meereen audience chamber,” Riley says of her first big design project coming into season four. “I was very nervous about my position at that point. Then once that was built, it was like, ‘I’m going to be fine.’ It was a relief to survive. I’ll never forget that one for that. Before it was brought down, I went and said a little quiet goodbye to it because I was very fond of it.”

701 - Dragonstone - Daenerys 6

“Working all the way through to Dragonstone, I loved,” Riley says of the castle’s amazing throne room first seen in season seven. “Even what we did in Season 8, it was such an emotional experience not only in terms of the story we were telling but in terms of the art department. To build something and then destroy it, and to destroy this throne room that had been standing for so many years, I found it quite traumatic to do all of that.”

For a much deeper look at what her job entailed, read the whole interview at Backstage.

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Game of Thrones showrunners no longer making Star Wars trilogy

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WiC Watches: Catherine the Great

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Monday, October 28, 2019

The Mandalorian finally speaks in new official trailer!

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People who subscribe to HBO through AT&T will get HBO Max for free

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The 100 is getting a prequel series on The CW

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Emilia Clarke and Jason Momoa are adorable on The Graham Norton Show

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Chernobyl creator Craig Mazin rebooting Pirates of the Caribbean franchise

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Critics agree: Jason Momoa’s new show, See, is no Game of Thrones

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Emilia Clarke, Kit Harington and Jason Momoa reunite!

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The Mandalorian premiere features a “dramatic” Star Wars spoiler

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Netflix’s The Last Avatar live-action remake starts shooting in early 2020

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Review: My Watch Has Ended with a bittersweet finish

My_Watch_Has_Ended

Game of Thrones has come to an end, our long watch has finally come to a close. To mark the passing, Brewery Ommegang has delivered their final installment in their series of Game of Thrones-inspired beers with the poignantly titled “My Watch Has Ended”.  This last in the series is an Imperial brown ale brewed with maple syrup and Fenugreek.

As Ommegang describes it:

My Watch Has Ended is brewed with two-row base malt, specialty grains such as oat flakes and chocolate malt, plus maple syrup and fenugreek, an herb with a maple-like aroma and flavor. Hopped with Hallertau Magnum and Styrian Golding varietals and fermented with an English ale yeast, with aromas of sweet maple and caramelized sugar, the beer pours a rich mahogany. Notes of cocoa and toffee and a smooth, velvety mouthfeel finish dry, with gently smoldering roast.

As is a running gag in my previous reviews, darker beers are generally not my go-to, yet I’m always excited when Ommegang presents us with a reason to give a new taste a shot. They have an endearing way of taking what you think you know about a beer variety and then giving you brand new take on it. The previous entry, For the Throne, was a golden ale co-fermented with pinot grigio and Viognier grape juices, and although I had no idea what that would taste like, it became one of my favorite ones they’ve made.

Before we get to taste, let’s take a moment and talk about the packaging and bottle design. Bottle1Over the years Ommegang’s Game of Thrones bottles have become collector’s items, with people even finding buyers for the empty bottles. Their original designs were more typical of what you see in craft beer with stickers on the front and back, a ring around the neck, and a corked top held on with a wire cage in a brown glass bottle. The Royal Reserve Collection was more experimental using blacked out bottles, bottle caps, and simple yet distinctive color schemes. My Watch Has Ended though returns to the original design showing off a label featuring the House Tyrell, Lannister, Targaryen, Stark, and Baratheon banners across the front. A bit busy, and makes the lettering hard to read but a welcome return for their final entry in the series.

Onto the contents of that bottle, which at first reminded me heavily of their previous offering, King in the North Imperial Stout. It has a very similar dark color, almost black, and also the same tan foam head which dissolves away quickly. The smell surprised me; from the bottle promotion of maple syrup and fenugreek (an herb often used as a maple syrup flavoring) I wondered if it would smell like pouring pancakes into a glass. Instead you get a pleasant aroma of caramel, cocoa, and a little bit of coffee which again reminded me of the King in the North stout.

bottle2The taste starts off very smooth with very little bitterness and no hard liquor bite unlike previous beers such as Hand of the Queen. Which makes sense- My Watch Has Ended is 8% ABV ale compared with the King in the North stout which had a direwolf-sized 11% ABV. Very quickly you get the maple syrup and fenugreek showing up in force, offsetting the small bitter taste. It’s like the brewers at Ommegang read my previous reviews and my dislike of bitter dark beers and made one for me. The taste is not something very sweet, it comes off more as a smooth inviting taste. Generally with Imperial ales and stouts, I have to remind myself to take a drink and brace myself and can sometimes get that feeling of a never ending glass due to small drinks. My Watch Has Ended is far more inviting and drinkable though, and found it disappeared much quicker.

The flavor mixture is fantastic, and the aftertaste lasts for quite a while like The King in the North with similar pleasant results. And again, Ommegang has gotten me to drink and end up enjoying something that I probably would not pick up from the shelf based on the description. That’s the real greatness of their Game of Thrones collaboration. Just by engaging with the collectibility of Thrones you end up trying a far wider range of tastes and styles than you normally would.

George R.R. Martin has been on record saying that the end of his book series will have a bittersweet ending and I can’t help but feel that’s what Ommegang tried to make with My Watch Has Ended. The beer is a little bitter, a little sweet, and leaves you wanting more. It is coming to your local stores soon, and will be available on draft and in 750 ml bottles (suggested retail price of $11.99/bottle).

Also coming soon, in December, will be a re-release of the popular Take the Black Stout, Fire and Blood Red Ale, and Winter Is Here Double Wit beers in holiday packs complete with glasses. You can use Ommegang’s handy beer finder on their website to help you find these products near to you.

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The Game of Thrones showrunners explain themselves, and the internet is angry again

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Jedi, lightsabre, other Star Wars words added to Oxford English Dictionary

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Will the Russos ever return to the Marvel Cinematic Universe?

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WiC Watches: Watchmen

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Friday, October 25, 2019

WiC Watches: The Good Place season 4

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Aaron Paul: Westworld season 3 is “even more ambitious” than seasons 1 and 2

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Disney Boss Bob Iger fires back at critics of MCU films

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Pedro Pascal’s role in Wonder Woman 1984 revealed

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Ewan McGregor reveals new info on Obi-Wan Kenobi show

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A new Hocus Pocus movie is in the works at Disney+

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Stranger Things 4 to begin filming in January 2020

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Liam Cunningham defends Game of Thrones ending; and Maisie Williams tries to answer questions as she eats spicy wings

Davos Seaworth, Winterfell, Season 8

We’ve got a few more post-Game of Thrones Season 8 interviews for you today, and I promise two of them are more serious than the title may suggest. First of all: yes, Maisie Williams (Arya Stark) recently appeared in the popular be-interviewed-while-eating-increasingly-spicier-chicken-wings “Hot Ones” Youtube channel, and it was hilarious if not informative; but also, courtesy of Spanish fansite Los Siete Reinos, we’ve got costume designer Michele Clapton speaking about her favorite costume (and character!), as well as cast members Isaac Hempstead Wright (Bran Stark) and Liam Cunningham (Davos Seaworth) discussing and defending the ending of the show.

Aside of providing us with a few good laughs at poor Maisie’s expense, her appearance on Hot Ones also serves as an interview of sorts, though one in which the interviewee grows increasingly inarticulate. You may have heard versions of these questions and answers a hundred times (“Is it true you learned to fight left-handed because Arya’s left-handed in the books?”), but the video is worth it for the laughs anyway:

Now, onto today’s meatier –but not spicier– interviews. Our friends at Los Siete Reinos got the opportunity to chat with costume designer Michele Clapton as well as Isaac Hempstead Wright and Liam Cunningham at a recent Game of Thrones event in Madrid, Spain (which was very much like the touring exhibition we reviewed a few years ago.)

Of particular interest in the interview with Clapton is what she considers her favorite costume of season eight: Sansa’s coronation dress as Queen in the North. As it happens, Sansa’s the character she “loves the most”, and as well as designing her final dress she got the opportunity (as you might have heard before) to appear in the scene in which Sansa’s putting it on; though you may miss her, since we only see her hands.

Clapton says she especially appreciates how that scene was shot, showing the costume up-close and without rushing through it, “because on-set you never see it with such detail; you see things but you can’t tell it was created with such care.”

Sansa Stark 806 Season 8 Queen in the North

Then, again speaking to L7R, Liam Cunningham makes what I believe to be a great point regarding the ending of Game of Thrones, often criticized as “rushed,” about the realities of production, which has time constraints that writing a novel simply does not:

“The books are a beautiful, beautiful thing, but if we’d ‘just done the books,’ you’re never going to match what’s in people’s heads. And [showrunners] David and Dan gave 15 years of their lives, and they love the books… but we have to make a television show that opens it up to a much bigger audience. [George RR. Martin] writes beautifully. To compare the two is ridiculous; one is a visual medium, the other one’s literary.”

“As regard to the end, there’s nothing we could’ve done to make everybody happy… I think we had the most happy ending that we could possibly have. The Starks are in good shape. The Lannisters are gone. Daenerys –the Targaryens– finished. The Small Council at the end is mostly good people; it’s Brienne, Samwell Tarly, Davos, Bran, Tyrion. It’s a pretty happy ending for something that’d had genocides up to that point.”

Bran Stark King Red Keep King's Landing Season 8 806 Iron Throne Podrick Brienne Bronn Tyrion

“I think it was a really good ending. We got people saying ‘it was too short!’. It was originally going to be 70 hours, and [David and Dan] added three more huge episodes, which is six months more of work than what they were contracted by HBO. So they went the extra mile. But they didn’t want to drag it out. I know people say it was rushed. Well, everything’s rushed. Davos had seven sons in the books. Bran’s more magical. There’s Lady Stark returned. There are thousands of things in the books that we couldn’t [have fitted.] It’s impossible. We’d all die of old age. Think about how long it takes to film these days. Six months for ten hours; or in the last season, one year for six episodes. Isaac would be 75 years old if we’d adapted everything. It’d be impossible.”

Now, it’s only natural for an actor to defend their project, and Cunningham has never been anything but a fierce defender of the show, but I believe he makes some great points: young actors age out of their roles, and time is money, not to speak of good old-fashioned physical and mental burnout by producers, writers, cast and crew alike.

The show just couldn’t go on forever, or even for ten seasons like some, including author Martin himself, had suggested in the past. While it’s true HBO offered the showrunners to go on for longer, either the production value wouldn’t be what the explosive final act of this story deserved or we’d get a season every two or three years. And we return to young actors aging and time being money. The math just doesn’t work out.

Perhaps it’s ironic (or is it just funny?) that that’s partly why Martin started writing A Song of Ice and Fire after working on Hollywood for years: he wanted to write something limited only by his imagination, eschewing all realities of production. The show didn’t have that luxury, especially once they ran out of published source material.

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Jason Momoa talks new gig, Maisie Williams is a malware risk, and more

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Henry Cavill hopes to play Geralt in The Witcher “for many years”

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Let’s compare the first two seasons of AMC’s The Terror—Which was better?

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