Greetings One Piece fans! Welcome to ONEPIECE1100, your ultimate destination to explore every corner of Oda's legendary masterpiece. Join me on an epic journey through the Grand Line, as we dive deep into the adventures of the Straw Hat crew, their pursuit of the One Piece, and beyond! Get ready for in-depth discussions, theories, and all things One Piece!
Showing posts with label tv series. Show all posts
Showing posts with label tv series. Show all posts
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Netflix One Piece Live-Action Budget Per Episode Reveals

As Netflix commences the streaming of the first season of One Piece, it appears that the stakes for a live-action adaptation of an anime have reached unprecedented heights. The pressure on this endeavor extends beyond the beloved status of the original manga series, as insider reports have unveiled intriguing details about Netflix's financial commitment to One Piece's live-action production. To describe these figures as substantial would be an understatement, prompting a closer examination. The realm of live-action adaptations based on anime and manga is notorious for its complexity and uncertainty. Any investment made is akin to a gamble, and the One Piece adaptation is no exception. Yet, Netflix's financial commitment seems to have soared to unparalleled heights, carrying immense expectations. According to reports, Netflix's live-action adaptation of One Piece boasts a colossal overall budget of $144 million for its inaugural season. This debut season comprises eight episodes, resulting in a production budget of $18 million per episode.

Netflix One Piece Live-Action Cast

These staggering numbers have already elevated the live-action One Piece to the ranks of Netflix's most expensive productions. In fact, when compared to the budgets of other renowned shows like Game of Thrones, The Mandalorian, and The Sandman, the difference is remarkable. These aforementioned series are estimated to have budgets of approximately $15 million per episode, underscoring the extraordinary financial commitment Netflix has made to bring the world of One Piece to life. One Piece finds itself in esteemed company when it comes to production budgets, with only a select few shows surpassing its financial commitment. These higher-budget productions include Lord of the Rings: The Rings of Power, Stranger Things, House of the Dragon, The Pacific, and Marvel's Disney+ series like Wandavision and Loki.

Netflix One Piece Live-Action Cast

While the figure may still appear astonishing, One Piece's substantial production budget can be rationalized. The anime is renowned for its vibrant and intricate world, a formidable challenge to faithfully recreate in the realm of live-action. Likewise, capturing the high-energy action sequences with the same fervor presents an equally formidable task. However, Netflix's live-action adaptation of One Piece isn't solely defined by its extravagant budget. To ensure it remains faithful to the original's acclaim, the series benefits from the active involvement of the anime's creator, Eiichiro Oda, who serves as an executive producer for the adaptation. Furthermore, in terms of marketing prowess, Netflix has proven hard to surpass. The platform has devised comprehensive advertising campaigns, launched podcasts, and even secured magazine cover features, such as the one featuring Iรฑaki Godoy on the pages of Weekly Shonen Jump in Japan—an extraordinary accomplishment for a real-life individual. The measure of success for the live-action One Piece ultimately hinges on its viewership figures on Netflix. With an unprecedented production budget, the series must draw in an audience of Stranger Things proportions to earn the label of triumph. Currently, the initial episode appears to have left a positive impression on fans worldwide. Many anticipate that the remaining episodes of the season will maintain this level of quality, even in the face of considerable universal expectations, reminiscent of the pressure faced by The Last of Us adaptation.

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Stranger Things Season 5 Writing To Begin Very Soon

Now that Stranger Things Season 4 is officially finished fans of the show are officially turning their attention to the fifth and final season. It turns out that the writers for Stranger Things are also going to be turning their attention to the next season fairly soon.

It makes some sense that people would be wondering when work on Season 5 for the Netflix show is going to start production. After all, the wait between Season 3 and Season 4 was longer than fans first expected considering that the coronavirus pandemic put a freeze on that kind of work. Some of the latest comments behind the writers of the show indicate that there isn't going to be anywhere near the wait for the next installment.

The show's creators, the Duffer Brothers recently spoke to Collider about their plans for Stranger Things now that Season 4 is done. Ross Duffer said that they're going to be taking a "little vacation" in July and then they're going to be getting right back to work. If that wasn't specific enough for some people, he added that the writer's room is going to be getting started in the first week of August.




While fans are likely going to be happy to know that the people behind the show aren't taking a ton of time off between seasons, it does seem like there's going to be at least a little wait for Season 5 of Stranger Things. The realization that the scripts are not yet written at all, and won't start to get written until August puts all other production further behind that date. Even if the Duffer Brothers do have the final season mapped out, it doesn't appear that there's a word written down as far as what's actually going to happen or how in the scripts.

Of course, there is a chance that things could move quickly once the scripts get written. With ideas already being mapped out, the writers' room is just going to have to fill in the blanks. Still, it seems unlikely that Season 5 will start shooting until very late in 2022 or early in 2023.

Assuming everything moves ahead and there aren't any real bumps in the road, it seems that the earliest Stranger Things fans are going to get to see the final installment would be the winter of 2023 or the spring of 2024. Of course, considering what many feel like the viewership numbers are for Season 4 thanks to a summer release, it could even be Summer of 2024 before the series wraps up.
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Dead End: Paranormal Park Creator On Why Courtney's Pronouns Changed

Creator Hamish Steele shares why Courtney's pronouns have changed from the original comic in the Dead End: Paranormal Park animated series. Based on Steele’s DeadEndia comic, this cartoon adaptation was recently released on Netflix and has gained new traction on social media. Dead End tells the story of two teenagers, Barney Guttman (Spider-Man: Far From Home’s Zach Barack) and Norma Khan (Rise of the Teenage Mutant Ninja Turtles’ Kody Kavitha), as they undertake their new jobs at a haunted theme park. As they work to uncover the secrets of the park, the pair are joined by the demonic Courtney, voiced by Hannah Montana's Emily Osment, and Barney’s partially possessed dog Pugsley (Alex Brightman, known for Beetlejuice on Broadway).

The Netflix animation does make some notable changes from Steele’s original graphic novel. In the comic, Norma and Barney befriend each other while working as janitors at Phoenix Park, whereas the Netflix series has them as security guards (who aren’t very good at their jobs). Other changes saw the 912-year-old demon Courtney shift from using they/them to she/her pronouns for the show.




Now, Steele reveals on his Twitter what decisions went into making this change to Dead End: Paranormal Park. Netflix is aware of the non-human non-binary trope, and producers encouraged gender-blind casting for Courtney, with a plan for Courtney to use the same pronouns as the actor cast. While Steele assured fans that Osment was the best fit for the role, he is also understanding that the change may have been disappointing to those hoping to see themselves represented. 

While non-binary characters have started to see more inclusion in on-screen media, these roles are still far and few between. When looking at non-binary representation in television, a plethora of these characters fall into the ‘non-human’ category, with many justifying their identity with the idea that these characters just don’t understand human concepts of gender. This way of interpreting non-binary characters can be detrimental, but it doesn’t inherently make the representation bad, with characters like Good Omens' Aziraphale and Crowley being widely adored. Although, it certainly becomes tiresome if this is the only way non-binary people see themselves represented on screen.

Dead End has a diverse cast, creating characters with different backgrounds, identities, and body types. It focuses on Barney, a trans man who finds home in the haunted theme park when he doesn’t feel at home with his parents anymore. Dead End puts a large focus on LGBTQ+ identities, while also exploring disability and neurodivergence with autistic characters like Norma. While fans might, understandably, still be saddened by Courtney’s change of pronouns, the team behind Dead End: Paranormal Park chose to consider the overall impact that their creative decisions would have to avoid further use of an often upsetting trope.
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Jon Snow's Spinoff Can Fix A Major Game Of Thrones Finale Plot Hole

Jon Snow’s spinoff offers the opportunity to explain several plot holes from Game of Thrones’ ending, including a major inconsistency with the Night’s Watch. The untitled Jon Snow sequel series is the latest of several spinoffs in development at HBO, including prequels like The Sea Snake, Ten Thousand Ships, The Golden Empire, and A Knight of the Seven Kingdoms. However, Jon Snow’s show is the first Game of Thrones sequel series, with the franchise’s debut spinoff being August 2022’s House of the Dragon prequel.

While very few details have been announced for HBO’s sequel series, it’s confirmed that Kit Harington will be reprising his role as Jon Snow should the spinoff move forward. The show would follow Jon Snow’s journey after Game of Thrones’ divisive 2019 finale, which saw the prominent character exiled to the Night’s Watch after killing Queen Daenerys Targaryen. In the final shot of Game of Thrones’ original series, Jon Snow rode off beyond the Wall with Tormund and a host of Wildlings, with a green plant signifying the arrival of spring.




The sequel series will be an important test of whether Game of Thrones can be redeemed in the eyes of the larger public but can also provide answers to burning questions and mysteries left by the polarizing finale. One such mystery was that of the Night’s Watch, as the group’s fate was left largely pointless after the events of Game of Thrones’ final season. Tyrion Lannister revealed that the Night’s Watch would remain active as an order of the Seven Kingdoms, but there wasn’t truly a purpose for the men once the Night King and White Walkers were destroyed. Guarding the Wall was meant to keep the free folk and White Walkers at bay, but with the former arguably having no interest in returning to the South and the latter being wiped out, the true purpose of the Night’s Watch had already been fulfilled.

Tyrion explains that the Night’s Watch still exists as an order for “bastards and broken men,” but Game of Thrones’ ending never answered exactly what the men would be doing at Castle Black. If there are no White Walkers or Wildlings to fight, there's no reason to train or protect the Wall. There would be no glory to be sought by bastards like Jon Snow and the lack of a unifying purpose for criminals who are exiled to the Wall. It’s unclear what would keep the men of the Night’s Watch from abandoning their posts with only a few surviving personnel at Castle Black, especially since Jon Snow has seemingly deserted the Night’s Watch to live among the remaining free folk beyond the Wall.

It’s possible that a new threat could arise beyond the Wall and threaten Westeros in Jon Snow's spinoff, but Bran would presumably be able to sense such an occurrence as the Three-Eyed Raven. Without the motivation of keeping foes from breaching the Wall, the Night’s Watch is largely diminished to a labor prison. Perhaps the Night’s Watch will be given a new purpose across the realm in the sequel series, but unless King Bran Stark foresaw a new threat beyond the Wall, the original necessity of Game of Thrones’ order is obsolete. However, Jon Snow’s spinoff can finally explain the point of maintaining the Night’s Watch beyond a refuge for lost souls. Whether it be a new King Beyond the Wall, conflict with the Children of the Forest, or a novel supernatural foe similar to the White Walkers, Game of Thrones’ sequel series would require a new threat in order to truly justify the Night’s Watch’s continued existence.
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Game Of Thrones' Sequel Can Finally Redeem The Original's Tyrion Mistake

Tyrion Lannister is one of the best characters in Game of Thrones but is ruined by season 8 - and the new sequel series can fix this. HBO's sequel to the immensely popular fantasy TV series is set to follow Jon Snow (Kit Harrington), one of the surviving main characters of the finale of Game of Thrones season 8. Though no other actors have been confirmed to appear yet, Tyrion Lannister (Peter Dinklage) must absolutely become a main character once more to redeem D B Weiss and David Benioff's character assassination of the wittiest man in Westeros.

One of the few characters with genuine empathy and a witty mouth to boot, Tyrion Lannister is a universally beloved Game of Thrones character. Despite having the odds stacked against him in the harsh society of Westeros due to his dwarfism, he is an honorable, clever man with better intentions for the realm than his brother Jaime, sister Cersei, and nephew, Joffrey combined. Tyrion's initial character arc culminates in Game of Thrones season 4 when he is blamed for Joffrey's murder and put on trial, eventually losing a trial by combat which pits his champion, Oberyn Martell, against Gregor Clegane, the Mountain. After killing his father and his lover, Shae, Tyrion eventually joins up with Varys and Daenerys Targaryen to help her ascend the iron throne as her Hand of the Queen.




Tyrion's turn from witty hero to useless advisor must be undone by the sequel series. The character was almost universally beloved for staring death in the face and doing what he felt was right, such as when he gave his legendary monologue during his trial for Joffrey's murder in Game of Thrones season 4. However, Tyrion is a shell of his former self from season 5 onward. He spends much of his time moping, then makes poor strategic decisions, such as when he gets his closest friend, Varys, killed by Daenerys Targaryen. Tyrion is arguably the smartest man in Westeros, so he should absolutely return in the new series with his original intelligence restored to redeem this once great character.

A primary reason for Tyrion's weaker later appearances are that he lacks personal connections to those he interacts with. Game of Thrones seasons 1-4 see him contend with the awfulness of Cersei and Tywin Lannister and form close relationships with Bronn, Podrick Payne, and Jaime Lannister. In this vein, later seasons prevent him from being witty as he primarily only interacts with people he respects, such as Jon Snow, Ser Jorah Mormont, and Varys. While his character certainly has his dramatic moments, he is also one of the series' funniest characters in the first few seasons, a trait sorely missing from Game of Thrones seasons 5-8.

Peter Dinklage is a highly celebrated actor, winning multiple awards for his portrayal of Tyrion Lannister. As one of Game of Thrones' few characters with a disability, his appearance is vitally important for authentic representations that normalize dwarfism in modern media. Furthermore, Dinklage's Tyrion is almost as intertwined with the series' identity as George R.R. Martin himself at this point, so it would be a crime not to have him return for the unnamed sequel. In this way, the Game of Thrones sequel needs to bring back Tyrion to restore his brains and wit and to give him the chance to become the same character so many fell in love with when the series first premiered.
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Strange New Worlds Shows How Much TOS Wasted Uhura

The way Star Trek: Strange New Worlds has utilized Cadet Nyota Uhura (Celia Rose Gooding) continues to show how much Uhura (Nichelle Nichols) was wasted on Star Trek: The Original Series. In Strange New Worlds episode 6, the USS Enterprise is embroiled in a mystery surrounding the young First Servant (Ian Ho) of the planet Majalis. As Captain Christopher Pike (Anson Mount) becomes distracted by an old love, Alora (Lindy Booth), the minister of Majalis, Uhura plays a key role in unraveling the mystery of Majalis as she serves on rotation in Security under Lt. La'an Noonien Singh (Christina Chong).

Uhura is one of Star Trek's most important and beloved legacy characters as she was the first prominent African-American character in The Original Series. Yet Uhura, the Communications Officer of the Starship Enterprise under Captain James T. Kirk (William Shatner), wasn't well-utilized. Uhura's character was hardly developed and she was usually relegated to keeping "hailing frequencies open" on the bridge. This motivated Nichelle Nichols to quit Star Trek but, thankfully, Dr. Martin Luther King convinced Nichols of the importance of Uhura remaining in Star Trek. Nichols' talents as a singer were occasionally spotlighted and Uhura did have a few historic moments like being part of TV's first interracial kiss with Shatner's Kirk. Yet despite appearing throughout Star Trek: The Original Series and in the first six Star Trek movies, Nichols and Trekkers had to be satisfied with the supporting role Uhura played in the Enterprise's cosmic adventures.




Laudably, Strange New Worlds' younger version of Uhura has become a far more vital, complex, and interesting character than Nichols' Uhura was ever allowed to be by TOS. Uhura's own tragic backstory and her mastery of 37 human languages were revealed in Strange New Worlds episode 2, and Nyota's talents as a linguist helped save the day once again in Strange New Worlds episode 6. In Strange New Worlds episode 6, it was Uhura who deciphered communications from Majalis that pointed to Elder Gamal (Huse Madhavji) plotting to kidnap his own son, the First Servant. And this created the opening for Captain Pike to discover the terrible truth that Majalis' advanced society is predicated on torturing and sacrificing the lives of countless children who serve as First Servants.

It's remarkable how much Strange New Worlds has spotlighted Uhura in just the first six episodes so far. Nyota's talent at singing helped unlock the mystery of the rogue comet, which was actually an ancient arbiter of life, in Strange New Worlds episode 2. Just two episodes later,  during a Gorn attack on the Enterprise, Uhura came through once more when she and Chief Engineer Hemmer (Bruce Horak), who was injured, were trapped in the cargo bay. Cadet Uhura was once more on rotation to learn the various functions of Engineering in Strange New Worlds episode 4, just as Nyota worked with and impressed La'an when she rotated into Security in Strange New Worlds episode 6.

Strange New Worlds' plot device of shift rotation has been an ingenious way to integrate Uhura into playing various roles that highlighted her talents and value. These experiences also retroactively inform and enhance the future version of Uhura Nichelle Nichols played in Star Trek: TOS. Yet the way Cadet Uhura's character is developing in Strange New Worlds and how she reacts to her various rotating duties also sheds light on Uhura in TOS. At this point in her career, the younger Uhura is uncertain if she wants to remain in Starfleet and her dangerous adventures are taking a toll on her. Perhaps the fact that Uhura was plunged into so many life-threatening scenarios as a Cadet in Star Trek: Strange New Worlds becomes the reason why Lt. Uhura became so comfortable remaining at the Communications console of Captain Kirk's bridge in Star Trek: The Original Series.
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Harley Quinn's TV Series Just Became Official DC Canon

The hit Harley Quinn TV series on HBOMax has officially become DC Comics canon. Ever since her debut in Batman: The Animated Series, Harley Quinn has been a staple of DC across all media. Whether she's making appearances in comics focused on other characters or getting stories of her own, the sensational antihero has become iconic both in the comics and beyond. While she's gotten a new comic run every year or so, she's also made her way to the big screen in the live action Suicide Squad films and Birds of Prey. She's even found herself back on the small screen in her own series.

HBOMax's Harley Quinn is an adult animated series by Justin Halpern, Patrick Schumacker and Dean Lorey that follows Quinn not too long after her break-up with the Joker. She's joined by Poison Ivy as she tries to make a name for herself by becoming Gotham's next big villain. Along the way, she encounters countless Batman villains, friendships with DC favorites and an exploration of the romance between her and Ivy that's become beloved by comic fans everywhere. The series has been received positively by both critics and audiences because of its humor, tone and story, with the third season being highly anticipated by fans. Now, the influence of the series has officially made its way to comic canon.




Poison Ivy #1 by G. Willow Wilson and Marcio Takara features a moment in Ivy's past between her and Harley. The two are having a pretty nasty fight, alluding to the infamous break-up that would see the famous LGBTQ couple going their separate ways. What's interesting though is the shirt that Harley is wearing. On it is a graphic of Frank, a character from the Harley Quinn animated series created specifically for the show as a more foul-mouthed version of Audrey II from Little Shop of Horrors. He's a plant that's primarily seen as a supporting comedic relief that also helps Ivy through tough spots and has become a fan-favorite in the series. Now, he's officially made his debut in DC Comics, cementing the TV show as comics canon.

When putting this in perspective for the in-universe implications, it's pretty humorous to think that Harley perhaps convinced network executives to create a series about her misadventures. From her romance with Ivy to her attempts at making a name for herself, it's not farfetched that Quinn would want to show the world who she is in the one place where she can get it across best: television. Of course, the series could be seen as her own fantasy of how certain events would play out in her mind. After all, some pretty notable Batman heroes and villains meet gruesome fates throughout the show, so it could mirror what comic Harley believes them to be from her point of view.

Nevertheless, this little Easter egg demonstrates how much influence the show has had since it debuted. While the show has had its own adaptation in the comics with the Eat! Bang! Kill! Tour, this is the first instance of the show finally being in a new DC Comics story, even if it's just a little reference. Harley Quinn is a series that has continued to grow in popularity and making it officially canon in DC Comics just shows that it won't be going anywhere anytime soon.
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Game of Thrones S08E03 Review: Wrath of the Night King

Game of Thrones, Season 8, Episode 3: The Long Night

(Warning, this episode features heavy spoilers from the very plot-twist-y episode, and I'm not going to include any particularly spoiler-y images. Scroll down if you haven't watched this episode!)

So, to open up by acknowledging the episode's greatest strength... this is an amazing episode visually. As a visual spectacle, as someone who's interested in the logistics of filming and creating such an amazingly immersive episode where you truly feel the terror, dread and hopelessness as our heroes fight against the endless armies of the dead, and someone who admittedly loves visual spectacles... "The Long Night" is an amazing episode in that aspect. From the opening scene of slowly building up dread as we just slowly pan over some 15-20 characters as they await the incoming onrush of literal death, to fight for their lives and most likely die, to the opening salvo with Melisandre and the Dothraki, to the dreadful confusion in the darkness-enshrouded large wasteland, to around halfway through the episode where our main characters are trapped in the claustrophobic corridors of Winterfell... this episode is exceptionally well done, selling the horror of the episode, and raising the stakes compared to other "big battle" episodes in Game of Thrones.

Yet, narratively... narratively, it's a bit of an odd meal that I'm never quite sure how to process. Throughout the 80-minute runtime of the episode I was constantly on the edge of my shit, going "HOLY SHIT HOLY SHIT" every couple of seconds whenever something horrifying happens to one of our beloved characters, as we pan away from this character to that character to yet another character, and when the final and surprising climax of the episode happens, it was a huge "holy fuck. HOLY FUUUUUCK!!!!" moment. It was an amazing experience to live through.

The music in this episode is also spectacularly used, with some segments (the Arya one in the middle of the episode) using little to no background music, while the "darkest hour" segment near the end makes amazing use of a crescendo of nothing but piano. It's just amazing and sucks you in. 

Jon & Dany S8 Ep3Yet when the dust settles, and the spectacle is over, and I sit down to write the review of this behemoth of an episode... I'm genuinely baffled at the events that happened, and I'm genuinely not sure how much I like this narratively. And to reiterate what I said above -- the episode was certainly nothing short of a cinematic episode, and I was completely immersed in the horror and dread and awesome tension, and for an episode that's 90% "oh holy hell zombies", it never really got tiresome, something that genuinely surprised me. 

But also something that genuinely surprised me is... how little I actually like the ending now that I've had time to breathe and take stock of the events that happened. The subversion of an audience's expectation is a dangerous trick if it is done for just subversion's sake -- look at The Last Jedi for how utterly poorly-received the subversion of Snoke's importance ended up being. And Game of Thrones has made its mark by having its first season (and book) subverting some of the most prevalent tropes in fantasy setting, including killing off two of the main leads in not particularly honourable ways... yet still shaping the narrative and the fantasy of the world to revolve around them. 

Sansa & Arya S8 Ep3And... and, well, the Night King and the oncoming army of the dead has been a plotline that has been foreshadowed literally from the very first scene of the TV series and the first chapter (or was it the second?) of the first book. It was the mythological plot, it was the Bigger Threat over this silly fight over who gets to rule what, and while the Night King is more of a force of nature than an actual character, and part of me is happy that a character I genuinely care about, Cersei, ends up essentially being the final boss, the ultimate, final big bad of the series... it's also kind of a cop-out that they solved complaints about how the Night King is a flat villain that only has vague motivations that was ever-so-slightly hinted at if you look really hard through Bran's Raven-visions back in season 6, as well as Bran's short analysis on his motivation last episode.

And while I certainly didn't expect the Night King to be anywhere as complex a character as many of the other characters in this sprawling show... it's sort of an anticlimax, y'know? I honestly don't mind the plot twist that he dies in this episode. I don't even mind the subversion that it isn't Jon or Daenerys that ended up dealing the killing blow and that it was Arya. I minded the fact that for all the oomph and the eight seasons' worth of buildup and all the awesome episodes like Hardhome, Eastwatch and the whole Three-Eyed Raven sequence... the Night King does scant little in his final episode, leaving the bulk of the fighting to the endless horde of wight-zombies, mostly just spending the episode riding around Viserion, raising the dead some more, and sort of stand around and look cool. None of the other White Walkers even do anything, despite the huge assembly of around a dozen or so at the end of the previous episode, and how they cluster around the Night King like the cover of an 80's metal band cover. Like, at least let some of our characters fight the nameless white walkers or some shit. 

Episode 70And while I was scared about all of the characters throughout the episode -- there were moments where characters I thought were safe like Tyrion and Arya seemed like they were straight-up going to die in one last blaze of glory -- the death tally for the episode ended up being surprisingly low. Sure, a lot of random nameless dudes, particularly the Dothraki and Unsullied, ended up dying, but as far as named characters go, it's a shockingly low amount of Edd, Beric, Melisandre, Jorah, Theon, Lyanna and that Dothraki leader dude. And maybe Ghost the dog and Rhaegal the dragon. Considering how much the previous episode scared the fandom and audiences in general by waving death-flags and tying up loose ends, it set up a notion that anyone except for maybe a couple of 'safe' characters are dead, but at the end of the day it's mostly just a bunch of genuine cannon fodder (albeit likable ones in terms of Edd and Lyanna) and a couple of characters who were pretty obviously going to do a redemption-by-death anyway, it's just a matter of which villain they die to. And, sure, maybe we're saving some of them to die in the series finale against Cersei's forces, but still

And while I adore the subversion that characters with very obvious death flag -- Gray Worm and Missandei -- actually did survive, as do all of the named characters in the crypt, it is honestly sort of ridiculous that we didn't have a higher body count after just how we keep cutting back and forth to show the people in the courtyard (Brienne, Jaime, Tormund, Grey Worm, Podrick and I think Gendry and Davos maybe?) just continually getting swarmed by zombies, getting back up, getting swarmed, getting back up again and so on. And I honestly do think that the courtyard battle where basically almost everyone somehow managed to survive felt frankly a wee bit ridiculous. 

And, again, don't get me wrong. The episode is a pretty badass action sequence all throughout with a lot of amazing set pieces. The opening of the episode is pretty amazing, from the slow buildup of our characters just sort of awaiting the dread, to Melisandre showing up with a horse and giving the pretty awesome visual spectacle of lighting the Dothraki's arakhs on flame, and the long viewpoint of having the entire Dothraki army with swords lit on fire in the dark charging towards the unknown darkness... only to be quite literally snuffed out within seconds. That was chilling, and while there are a lot of complaints about just how dark the episode was, particularly with the fog and blizzard that swirled around the battlefield, I felt like it added to the scariness of fighting an unknown horde of zombies in an icy land. 

S8 ep3 battle winterfell VarysThe triumphant charge of everyone outside of Winterfell, ready to defend it and devolving into a chaotic melee, is also pretty well done, with the episode really focusing on either chaotic close shots or spectacular wide shots of the scale of the show, while we cut back and forth around a half-dozen characters we care about. And then Dolorous Edd gets impaled while rescuing Sam, and we get our first casualty. Oh no, a recurring and likable (if not particularly important) character gets killed! And then everyone retreats, with ambiguity if less important characters like Pod, Gray Worm and Beric will make it or not.

They all do, thanks in combination to the arrival of Daenerys and her dragon carpet-bombing the wights. And then a blizzard shows up, which is pretty badass as well, and we also have the spectacular showcase of Melisandre chanting and praying to the Lord of Light to light up the trenches and create, again, another visual spectacle of a wall of flames protecting Winterfell. Visually, it's striking, and it's a fun showcase of having a bit of a back-and-forth as our heroes start launching the big guns at the endless army of wights, with things like Melisandre lighting the Dothraki swords on fire, Drogon's arrival and the flaming trench tactic all seeming like legitimate ways for them to swing the tide of battle. 

And then, of course, the Night King arrives riding a dragon. And honestly, while it all boils down to "oh fuck our heroes are trying to survive against an endless tide of undead", the cinematography of the scene is pretty well done. The sensory-fuckery of never being quite sure which dragon is swooping around until it's too late, how Jon and Dany's senses are clouded by the blizzard, to the eventual 2-v-1 battle when Viserion the undead dragon starts to genuinely fight against Rhaegal and Drogon... it was definitely a far more extended fight than I thought we'd get, because I genuinely didn't expect CGI dragons fighting more than like five seconds, and it's amazing, including a particularly gorgeous shot of the dragons bursting out of the chaotic blizzard-filled clouds and into the calm night sky above. That is beautiful. 

The fact that zombie Viserion loses half his jaw and spends the rest of the episode bleeding blue flame from the side of his face and neck is also a pretty neat visual effect.

Jon S8 Ep3Meanwhile, after a sequence of Arya pulling off all the stops of her Faceless Man training and just slays her way through a fuck-ton of the dead, she, too gets overwhelmed, in no small part thanks to actually taking a hit and falling down the ramparts. We start getting things falling apart -- we get to see some of our heroes swarmed over by wights (although they mostly survive), we get to see the Hound in full PTSD mode, we get to see Sansa and Tyrion and the rest of the crypt cast in fear and huddling, we get to see the desperate last ring of defense that Theon has around Bran... and we get another death. It's Lyanna Mormont, the badass little child, surviving a first seemingly-fatal thrown-aside by an undead giant, before being grabbed and squeezed in a very painful-sounding crumple... but she manages to stab the undead giant in the eye and dust it just as she dies. 

It's just such a shame that not all of the action scenes are as visually striking and focus-driven as the dragon fight or the Lyanna scene -- so much of the fight against the zombies includes intentionally foggy or blurry shaky-cam camera. It does help to show just how horrifying things are from the point of view of the battlers, and while I get that, yes, a battle in Winterfell would be foggy and the Night King did seem to summon a blizzard early on, it doesn't make the episode feel as smoothly and as well choreographed as, say, The Watchers on the Wall. 

Again, case in point... the group in the courtyard -- Brienne, Jamie, Tormund, Pod, Gray Worm, Sam and maybe Gendry and Davos (the two are sort of missing) -- honestly don't do jack shit other than get overwhelmed, break free, get overwhelmed again, and break free again, and honestly it's sort of straining credibility that Sam and Davos, who aren't physical badasses, are somehow still alive after all that. 

But then we take a break from the huge dragon melee and the huge zombie swarm to follow Arya, and we get a pretty badass scene. It's certainly long, and probably an obvious "cheat" by the filmmakers to shoot a tense horror scene that didn't require as many extras as the elaborate exterior ones, but the horror of being trapped in a shadowy library as she tiptoes around, sneaks around bookshelves and Assassin's Creeds her way throughout the castle is, again, nothing short of breathtaking. The sequence highlighted in equal parts Arya's badassery (slashing that one wight in the chin mid-stride is awesome) while also making it clear that, shit, Arya's terrified out of her mind. 

And in a scene where we have so little dialogue, it's so amazing how Maisie Williams manages to convey both badassery and vulnerability at the same time. Of course, she ends up teaming up eventually with the Hound and Beric Dondarrion as more and more of the undead show up, and they end up basically taking turns rescuing each other until Beric manages to hold the line against a couple of wights, and survive just long enough to pass away in front of Arya. We then have Melisandre give some cryptic foreshadowing to a particular prophecy she said so long ago ("blue eyes"), as well as note Beric's prophesied role (both of which more casual audiences might be forgiven for forgetting) as being the herald of the Prince Who Was Promised... after a pretty awesome recalling of Arya's iconic exchange with Syrio way back in season one -- "what do we say to the god of death" -- and Arya basically disappears for the rest of the episode. Intentionally, and it's a pretty well-done misdirection, I must say. 

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A good man.
And we do get the creepy scene at the crypt, where everyone and their mother called out that putting the refugees in a place where it's full of dead people is a bad idea. With Jon knocked off of Rhaegal (who literally disappears for the rest of the episode, and I'm not sure if Dracowight Viserion's mauling is lethal) and charging towards the Night King, he resurrects all of the dead in the now-memetic "come at me" pose, and that includes the dead in the crypt. Yet while we do get a pretty scary moment of Sansa and Tyrion about to do something potentially fatal with that dagger... none of the people in the crypt really ended up dying or even in a position where they're close to dying. Not Sansa, not Tyrion, not Varys, not Missandei, not Gilly. 

And, of course, while all of this is going on, we get a couple of pretty desperate scenes. It's kinda dumb for Dany and Drogon to stay rooted on the ground for too long, but this had the effect of Drogon being absolutely overwhelmed by the wights that swarm him like ticks, leaving Daenerys unprotected on the ground as Drogon flies off and tries to shake off the wights that are trying to kill him (a very awesome visual), leaving Daenerys at the mercy of the army of the dead... if not for Jorah Mormont's arrival.

Likewise, the Godswood is breached by the army of the dead, and Theon Greyjoy and his Ironborn end up being the last line of defense against Bran and held their ground way longer than I gave them credit for, being genuinely impressive. Jon Snow, meanwhile, while managing to at least last against the wights, ends up being trapped in a courtyard with a rampaging zombie Viserion, and unable to really stand up against him. The Dovahkiin he ain't, and there was a particularly hilarious scene where he tries to charge Viserion, only for the undead dragon to turn his head and he runs an immediate 180 and takes cover behind some conveniently blue-dragonfire-proof rubble. 

And, of course... Theon and Jorah both have their respective redemption-equals-death moments. Jorah's was a bit less spectacular, even if dying while fighting back-to-back with her queen is pretty badass and that's basically the ideal death for Jorah, dying as a shield for her queen. Theon, meanwhile, ends up actually standing his ground and fighting against all of the wights until the Night King and his walking-metal-album-cover entourage shows up, and we get one last line from Bran-Raven thanking Theon and saying he's a good man, before Theon charges in. No longer is he the man who betrays the Starks, no longer is he the meek Reek who can't stand up to Ramsay Bolton, no longer is he the dumbass who jumped off a ship and abandons his sister. He charges the Night King and gets the manliest death in this episode. It's impressive, genuinely, how the show has gotten me to go from "fuck Theon!" to "fuck, Theon." to "FUCK YEA THEON". 

And as Theon dies, as Jorah dies, as Brienne and Jaime and the rest of the courtyard squad gets overwhelmed by wights for the umpteenth time, as Jon Snow tries a suicidal screaming competition against the undead dragon... we get a crescendo of music as the Night King and Bran stare face to face... only for motherfucking Arya Stark to jump out of the fog and try and stab the Night King in the face, leading to a very awesome and smooth sequence of the Night King catching Arya, her dropping the blade and then stabbing it straight in the Night King's heart... dusting the ENTIRE ARMY. Including the undead dragon, cockblocking Jon Snow of the badassery of potentially killing an undead dragon. 

With everyone victorious, Melisandre's job is done and she drops her magic necklace and walks into the snow to die in her true self, the final casualty of this episode. Which is more cathartic than shocking or dramatic, admittedly. 

NightsKing-970x494And... and I don't necessarily have a problem with it being Arya Stark that killed the Night King. It's foreshadowed in the series proper, even if it's not particularly memorable foreshadowing and I only remember it thanks to Melisandre reminding us. And I do like the subversion that Jon isn't the one to deal the killing blow. But... y'know what? It's still ultimately an unsatisfying narrative ending for the undead army plot even if in the moment it's a great holy-shit-oh-no-HOLYSHIT segment. I mean, sure, again, I'm not expecting a whole ton from the Night King as a character at this point, but I genuinely felt like we could've found out more about him. And even as a visual spectacle, the Night King is genuinely off-screen or on a dragon for the most part of the episode, with his contributions basically surviving Drogon's dracarys attack, lobbing a javelin (which missed), raising the dead (again) and killing Theon.

And considering the fact that this was the last hurrah for the white walkers and wights anyway... the white walkers really did jack-shit and even less than the night king, huh? We couldn't have the last boss that Jorah fight be a white walker? We couldn't have one of those bearded dudes lobbing lances at the defenders? Or have the Courtyard Squad fight one of them? Or have Arya, Hound and Beric team up against a white walker? I dunno. Sure, the huge zombie hordes and the huge zombie dragon was impressive, but I genuinely expected... more than just "ZOMBIES MORE ZOMBIES EVEN MORE ZOMBIES". Hell, we didn't even get a single scene of a character having to put down the zombie of one of his friends or something. Sam and Edd? Jon and Benjen? Tormund and one of those Wildlings from Hardhome? The headless zombie of Ned Stark? Grey Worm against a battalion of zombie Unsullied? Come on, if you're going to do zombies for most of the cast, at least make some of it interesting. 

Overall... I still immensely enjoyed this episode (and I genuinely feel bad that I ended up being so critical of an episode I was genuinely glued to the screen while watching), and it's undeniably impressive visually, and an amazing and tense watching experience. The individual death scenes that we focus on (Theon, Jorah and Lyanna in particular) are all done pretty well, too. And I will hold judgement on how much I like it based on how the remaining three episodes pan out. And it could definitely stand to be visually more distinct and clearer. But narratively and as an overall piece of the story... it's definitely leaves a bit of a mixed taste in your mouth, particularly how the white walkers are handled and ultimately concluded. I've seen someone comparing this to a nightmare -- very scary and will freeze you and make you feel very into it while trapped in the nightmare, but once you wake up and think about it, the scariness of the nightmare you had isn't that impressive. 

Best 'Game of Thrones' Memes From Episode 2

While last week’s season 8 premiere focused on all the reunions going on in Winterfell, episode two saw the characters preparing for the Battle of Winterfell. Take a look at some of the best memes poking fun at key moments in episode 2 including Bran Stark recollecting his climb up the tower, that special moment shared between Gendry and Arya, Brienne being knighted and the usual antics with Tormund below. Also included is the moment Jon tells Dany about his true heritage. In case you’ve missed it, Game of Thrones season 8 episode 3 teaser reveals “the dead are already here.”







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When Will Mindhunter Season 2 Release

Mindhunter’s first season turned out to be a surprise package for the most part. Fans didn’t really have high expectations from the show at first, but now, we already have people waiting for the release of Mind Hunter Season 2 on Netflix. For those of you who don’t know much about the show, Mindhunter is a detective drama that’s based on the inception of the FBI’s criminal profiling programme in the 1970s. The show’s first season aired back in Fall 2017, so it’s been over since the fans have been waiting for a second season now. So, is it happening? From what we know so far, yes, Mindhunter Season 2 is indeed happening.



However, we don’t know when exactly that is. A release date for the show hasn’t been revealed just yet. We do know quite a lot of stuff about the second season of the show, and we’ll be sharing them here in this post.

Before we begin, I want to let you all know that there may be spoilers from the first season in this post. If you don’t want to get spoiled, I suggest that you stop reading the post here. With that out of the way, let’s continue.

Mindhunter Season 2 is said to have a total of 8 episodes. As far as the release date goes, if we go by the release date of the first one, we’ll get Mindhunter Season 2 in Fall of 2019. However, the reports suggest that the show will return in the first half of 2019.

If that is the case, you should expect Mindhunter Season 2 to come out in May-June. As far as the cast goes, we’ll see the main cast return for the show and fans are very excited about it already. Coming over to the plot for Mindhunter Season 2, it seems that the story will revolve around will be on the Atlanta Child Murders. These vicious murders took place between 1979 to 1981. This also implies that we’ll be skipping two years in between, as season 1 was set in 1977.


We all know that many viewers loved Cameron Britton as Ed Kemper in the first season. He was playing a villain, who never thinks twice before murdering someone. But there are rumors that Cameron’s character might not return in the next season. When it was asked to Cameron, he refused to say anything about it, but he kept saying that he loves doing evil roles and Ed Kemper was one of his favorites.

One more thing which has been bothering me is the progress of the next season, as there is not much known. The show was renewed for second season before the first season premiered, so the work for the second season would be in the final stages. But still, an official confirmation is required, so we can still expect the show to return in the first half of 2019.