Cold Winds Are Coming

A few years ago, HBO launched the Game of Thrones. Even before the release of the series, there was a huge interest, thanks to the extensive fans of George RR Martin’s works. The critical reception was favorable, and a public reacted great, so immediately after the release of the first episode, the second season was scheduled for shooting by.


The decision is a brilliant demonstration of the explosive success of the first season, and of the many professional awards that the series and actors have inspired. And now, a few years later, the wait is still on! Who could’ve expected such a success in the early days?
Westeros has always been interesting, and since the beginning of the show, there have always been more kings in the kingdom than in a normal monarchy. Joffrey inherited the throne of King Robert, but on one hand he was acting as a flea-gun, as a rush of power and stamina, and on the other hand, throne seekers attacked him from all sides. Robb Stark, the eldest son of Ned, who was named King in the North by his fables, has been defeated by the more experienced Tywin Lannister in several battles. From the south threatened Renly Baratheon, who can count on the terrible army of the mighty Tyrell House. In the east, on the island of Dragonstone, Stannis Baratheon, Robert’s eldest brother, is preparing for the attack to deport Joffrey from Westeros. If all this is not enough, they are whispering in the North, a new King beyond the Wall, who unites the huge, but an undisciplined army of the wildlings, so that they can move south of the Wall. On the eastern continent, Daenerys, the last surviving member of the once dominant Targaryen House, is trying to survive with a handful of troops – and three dragons.

From this handbook, we can see how enormous the creators had to bear on their shoulders by broadcasting the books. Already in the first season, a number of story threads ran alongside each other, but the Battle of the Kings goes even further, right at the beginning, no fewer than eight adjacent sites and storylines, and a good three hundred elaborate characters that are in any case difficult to encounter in a sixty-minute series. Unlocking it will probably be the biggest challenge for the series.

With the help of HBO, a small group of editors of the website had the opportunity to view the first and second part of the second season in a press release so please welcome the following report. 🙂

The well-known theme song and the somewhat Steam-like design will be preserved this year as well, showing the venues in that episode. Behind the characters’ names, the coat of arms of their families continues to be visible to those who are familiar with books, for example, as Samwell, rightly, is drawing the hunter of the Tarly House.


The first part has to deal with the above-mentioned problems more powerfully, in addition to presenting the direct consequences of the first season’s end; it must also lead to a whole new thread. This episode may seem a little overwhelming, and the mysterious over rousing prologue, which was used in the first season (and books), was also missed, beginning with the name of King Joffrey’s name-day celebration, which, in my opinion, is still the weakest part of the whole, not surprisingly, even the sudden arrival of Tyrion does not improve much on the situation, the context is far behind, and the scene is clearly conveyed by Jack Gleeson.

After that, however, the level is steeply upwards, especially in the parts of the Kings Landing, are strong, especially the “chamber-like” scenes from two to three actors. Even among these, a dialogue that is not included in the books is highlighted, at the end of the episode; Littlefinger and Cersei dispute the difference between their power concepts in a rather tangible way. The dramatic and visual representation of the scene is the strongest point in the episode, and it is a great show that creators understand and understand Martin’s aspirations of story and character, and dare to touch it, to incorporate into the work, which is very faithfully followed by the books, a lot of dialogue in a one-on-one screen. Concerning the above scene, I would note that Lena Headey, critically acclaimed in the first season for her somewhat single-lined play, is now making the Cersei with a decisive sign of persecution mania, which is slowly breaking down from continuing failure.

Of course, the obvious actor of the parts of the capital is Tyrion, who, in his odd way, appears to be the champion of truth in an odd way among the many daring princes and sets out with decisive steps to create order. The Kingdoms seems to be a conceptually important venue for the second season, as it clearly shows that the other strings have been tightened at the expense of this. This is especially noticeable in Daenerys’ history, which contained two short scenes in two parts, which, in addition, did little to advance the thread, but at least demonstrate the dragons (kept in a wooden saddle bag, although according to the sleeping book the dehydrated tree and fireworks combination is not good …)

Of the Stark children, only Robb has a remarkable appearance, except for a short scene in Winterfell, in which the child Bran tries to perform the fictional tasks with the help of Master Luwin.

The strongest part of the part is the solution that, despite fragmentation, also shows the world’s unity. There is a red comet in the sky, visible to all actors – wherever in the world – and everyone understands it in their own way. It’s a great idea that the scenes end in the sky with a brilliant comet, and then come back to the ground at a different location. The diversity of the martini culture is also a great example of how the people of the nation can interpret the everywhere. In Kings Landing, it is regarded as a sign of Lannister’s fortune, Melisandre in Dragonstone regard it as a sign of the Red God, R’hllor’s favor, and wild Osha considers the traditions of the people as the prelude to the coming of the dragons.

Because it’s true, the world is changing. A white raven comes from the Citadel to the capital, which indicates the end of summer and the coming winter. In the North, besides the False, they are being prepared to attack, and the strange other people who have not been seen for many thousands of years, and beyond the sea (for now unknown to Westeros), Daenerys Targaryen raises three dragon branches to help them later return and occupy his ancestral throne.

At the new venue, we find three new stars in Dragonstone, and the relationship between them is revealed quickly and clearly. Stannis Baratheon, Robert elder brother, a soldier in the soldier who has no friends, only his subordinates, and enemies. Perhaps the only exception is Ser Davos, the former smuggler who blindly follows the king and is close to him. However, the formidable dragon fighters event, as soon as it turns out, is not Stannis, but the red priestess Melisandre from distant Assha. She can not know anything about the woman, but she directs incredible power and easily wraps around Stu’s, known for her otherwise incoherent character.

The greatest strength of the mourning scene is that the essence of the characters is presented almost perfectly in a single short conversation, as the authors of this series have proved many times in the first season. At the same time, for the acquaintances of the book, it may be strange at first that the relationship between the “original” dragons was quite mixed. In light of this, it is more understandable why Stephen Dillane was chosen for the role of Stannis, who, in his habit, has little to say about the Stannis described in the books. In the series, the throne, though gaunt and rigorous, is aware of his own weakness and forced to use Melisandre’s power. The latter, on the other hand, is more restrained, on the other hand, is much more active than in the novel. Davos, a simple, god-fearing smuggler in the book, became a decisive, somewhat bitter figure in himself and in Stannis, in sharp contrast to his son Mathos, the faithful servant of the new Red God.

Overall, the first part is attributable to the poor start to the story and the story-telling of the slightly disrupted, less routine-looking viewer, but taking into account the general expectations of the first episode of the series, they are completely understandable and acceptable.

The main episode of the second season seems to crystallize into the next episode. The emphasis is still on Királyvár, the backbone of the story is made up of the events, but the other threads begin to get started, as well as the appearance of Pyke and Theon’s family, which is one of the strongest contrasts of the scene.

Arya’s story unfolds well, gets acquainted with Jaqen H’gar, the now-suspiciously good-natured prisoner, and they get closer to Gendry, the blacksmith, especially after King’s townships are trying to hit their troops and Arya realizes that he is not her, looking for a boy.The earlier-noted minor-major historical changes will begin to feed the makers in the second part. This is particularly remarkable in Jon’s history, where events are accelerating and events in the Craster house will have far-reaching consequences. This scene delivers almost obligatory cliff sound at the end of each episode, but, in fact, this is somewhat skewed and predictable in this case. In addition, someone who wants to be part of the book, but does not have to be afraid, has no need to worry about any of the major players (for now).
At the same time, I can not stop not expressing my discontent over the fact that he has received new scenes in the first season, with Rosie, who is now quite discreet; who now appears in the brothel of Kisujj, but still cannot properly fit into the characters. This is partly due to the fact that Esmé Bianco has quite a few radiations and distinctions, and on the other hand, it shows the image of an inbuilt character in a fairly inconsistent scene in both of his scenes, I personally still understand why it is in the series and where the creators want to run their story.

The second part, on the whole, perfectly captures the rhythm and the rhythm of the series in the first season, Alan Taylor, the director of the first two parts, has proved that he is not a renowned master of the profession; the two hours flew like ten minutes. The spectacle is beautiful (my favorite Pyke castle), the conversations are very well written, some of the scenes are visually oddly imaginative and effective, so it looks all right for the Game of Thrones to continue the triumph of the last year!



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