Game of Thrones
VOD (4)
Seasons(8) / Episodes(73)
Plots(1)
Based on the series of books "A Song Of Ice And Fire" by George R.R. Martin, Game Of Thrones follows kings and queens, knights and renegades, liars and noblemen as they vie for power. In a land where summers span decades and winters can last a lifetime, trouble is brewing. Two powerful families are engaged in a deadly cat-and-mouse game for control of the Seven Kingdoms of Westeros. As betrayal, lust, intrigue and supernatural forces shake the four corners of the Kingdoms, their bloody struggle for the Iron Throne will have unforeseen and far-reaching consequences. (Warner Bros. Home Entertainment)
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Maybe the best fantasy series I've ever seen. An epic story of a fight for the Iron Throne, where it’s not the size of the army that decides, but lies and intrigue, with everyone playing a double game. The characters are awesome and well-developed, each one with their own story, all of which become intriguingly intertwined over time, promising a spectacular show. S01: 10/10. S02: 10/10. S03: 8/10. S04: 9/10. S05: 10/10. S06: 10/10. S07: 7/10. S08: 6/10.
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The first season was a struggle. There’s so much empty dialogue, scheming that goes nowhere and raw fucking that it makes you tired. But as the episodes and seasons progress, you begin to marvel at the thoughtful interconnectedness of the individual fates, how everything fits together with surgical precision, how G.R.R. Martin, or rather the showrunners, are not afraid to shock and allow themselves the least predictable (and yet logical) twists that make your jaw drop, your back shiver, and all you can do is utter an involuntary "Bugger me!". The manner in which the fates of Arya, Sansa, Tyrion (and I could go on) unfold in the least predictable ways brings joy to the hearts of viewers who enjoy rich stories. A real viewer's delight that builds to a fantastic fourth season, and I really have no idea what they're going to top it with in the upcoming one. And the fact that the series has an unprecedented, by TV standards, large-scale set design, sets and atmosphere, where every thoughtfully invested dollar of the generous budget is evident, only confirms the quality of this exceptional achievement.
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Without the need to vomit out a commentary full of either glorification or dirt after the first episode, I watched this third season of Rome in peace and quiet. True, the sunny amphitheaters have been replaced by the cool atmosphere of massive castles, but the characters remain. The beautifully ambiguous, non-black and white, well-detailed, and superbly acted characters, once again reinforce the belief that even when guns are blazing in a series (film), there may not necessarily be a battle because there are always enough grey eminences, schemers, and related coincidences that can shift the plot in a different way than we expect. If there is anything not worth praising, it is the direction of the last two episodes because the first one lacks proper gradation and the final one lacks a stronger epilogue resonance. When it's no longer in fashion at the library to take out Martin's books and there’s no queue for them at the bookstore, I'll drop by. I’m really intrigued by this world. [PS: My personal sympathies go out to Ser Jorah and Arya Stark, and now that list also includes Tyrion Lannister since the beginning of the second season.]
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The biggest television phenomenon of the 2010s. From an inconspicuous whisper announcing a spectacle for all fantasy lovers, for whom The Lord of the Rings was a great fairy tale, through the growing hype welcoming each new episode as a mercy – to the eighth season, which even the most die-hard opponents couldn't escape. Game of Thrones was everywhere and even after the last episode, which, as expected, divided viewers into several camps, I gladly admit that its fame was well deserved. The intricate world of Westeros captivated me from the opening scene; from the finale of the first season, I wanted to know everything about the Seven Kingdoms, and despite various stumbling blocks, this journey fascinated me until the bittersweet end. Just as Martin's book source material has its weak points, so does the adaptation, logically. In its early years, it clung to the books desperately, focusing on intimacy and saving the grand moments. Later on, it accentuated storylines that received considerable attention in the books but never added any resolutions, and eventually began trimming them down somewhat insensitively. In the seventh and eighth seasons, in territory where the source material has not yet ventured (and in my opinion, nothing will change that due to the increasingly egotistical nature of the vain author), it shifts three gears up and manages in one episode to have multiple plot twists we would normally have to wait years for. Yet I find it somewhat amusing how spoiled the audience is, currently with dozens of new works being offered every month, and yet almost dissatisfied every time. Whether it's dragged out or rushed, floods of complainers are heard every time, as no variant suits their taste. While I don't completely agree with a daring stage for the main events at all costs, the obvious emphasis on viewer inaccessibility on HBO, or the cruel and sudden fates of characters whose motivations were thoroughly developed over many years, this world still fascinated me even a decent few years later, and I even prefer its television mutation to the literary one. It may not be half as elaborate, and it almost parasitizes literature at the very end, but unlike A Feast for Crows or A Dance with Dragons, I don't feel like its authors are just teasing me with an avalanche of side characters and endlessly drawn-out storylines (see Dorne – a testing stone for both versions). And those unforgettable characters, whom I grew fond of and who have forever become part of pop culture (Daenerys, Missandei, Jon, and Robb being my favorites). The world of power intrigues, where battles, love, conflicts, dragons, the undead, and revelations from the worlds of ice and fire increasingly took root, may not have offered me the ending I dreamt of, not even its restrained version which I expected. And unlike others, I can let go of these endings and accept the one offered by D.B. Weiss and David Benioff, even though they are foxes in sheep's clothing, and I won't kid myself that they didn't mock us viewers several times as the end approached by alternating obvious fan service with underlining all expectations. Each season had plenty of unforgettable moments, clashes, encounters, and plot twists, so despite various disappointments, I am staying with the highest rating even at the very end. Valar Morghulis and farewell.
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Game of Thrones is filmed based on a cult book saga, which is currently considered a fundamental work of the historizing fantasy subgenre. Fans often fall into the trap of mechanical comparison between the two media, criticizing the missing motifs, characters, and plots, or the deviation of film characters from their novel counterparts. This kind of conflict passes me by. I am unfamiliar with the book series, nor do I intend to read it, so I am spared the trauma of comparing both versions. Game of Thrones represents a complex alternative functional world, modeled after the peak of medieval Europe with elaborate mythology. The series has no competition and probably won't have for a long time. Think about Vláčil's Marketa Lazarová with dozens of characters, which financially exhausted the entire studio and clearly showed the limits of regional cinema. The imitation of the Middle Ages is simply a precarious and expensive affair, which only a handful of producers can afford on this scale. Tolkien fans will probably be upset, but compared to Game of Thrones, The Lord of the Rings feels like a fairytale for older children with flat black-and-white characters. Game of Thrones reeks of blood, burnt human bodies, sweat, and urine. It offers a much wider range of emotions and is much dirtier. Its weakness lies in its excessive ambition and sprawl. Some storylines will simply seem less interesting to you and you won't be able to identify with certain characters. If the plot simultaneously follows several characters in different environments, you may have to wait a while for the one you feel closest to. In any case, it is interesting to watch the tangle of intrigues and power struggles, where the author often found inspiration in the real rivalries of powerful feudal families in medieval England and France. You won't find many supernatural motifs here, the movers of the plot are not magicians, but people with their down-to-earth desire for power, glory, and wealth. Personally, I could easily do without the dragons and ghouls, as well as other favorite genre props. Overall impression: 90%.
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