Game of Thrones (HBO)

[Cyborg]

Já alguém mandou vir esta edição:

http://www.amazon.co.uk/Game-Thrones-Se ... 005PN8BUS/

queria saber se é em digipack ou não, se têm livro de fotos e dvd extras como aparece no site da fnac

[tocoelho]

Já alguém mandou vir esta edição:

http://www.amazon.co.uk/Game-Thrones-Se ... 005PN8BUS/

queria saber se é em digipack ou não, se têm livro de fotos e dvd extras como aparece no site da fnac

[JRibeiro]

Nome dos episódios da terceira temporada:

Ep. 301 – Valar Dohaeris
Ep. 302 – Dark Wings, Dark Words
Ep. 303 – Walk of Punishment
Ep. 304 – And Now His Watch is Ended
Ep. 305 – Kissed by Fire
Ep. 306 – to be determined
Ep. 307 – The Bear and the Maiden Fair
Ep. 308 – to be determined
Ep. 309 – The Rains of Castamere
Ep. 310 – Mhysa

Se o 3x09 for fiel ao livro então vai ser absolutamente brutal e trágico, no dia a seguir vai ser das coisas mais faladas na net.
A música que dá nome ao episódio é esta:

[Cyborg]

Obrigado tocoelho
é semelhante à edição da 1ª temporada, agora é que fiquei indeciso compro esta edição ou da fnac.pt

[tocoelho]

Obrigado tocoelho
é semelhante à edição da 1ª temporada, agora é que fiquei indeciso compro esta edição ou da fnac.pt

A edição da Fnac traz mais umas coisas, é um facto, mas a diferença de € 9,26 chegou-me para mandar vir do UK.

E conhecendo bem a Fnac, talvez lá para dia 20 ou + é que recebia a encomenda!

Um abraço,

Tocoelho

[Cyborg]

Obrigado tocoelho
é semelhante à edição da 1ª temporada, agora é que fiquei indeciso compro esta edição ou da fnac.pt

A edição da Fnac traz mais umas coisas, é um facto, mas a diferença de € 9,26 chegou-me para mandar vir do UK.

E conhecendo bem a Fnac, talvez lá para dia 20 ou + é que recebia a encomenda!

Um abraço,

Tocoelho

Tocoelho podes confirmar se as legendas estão em pt-br como a 1ª temporada ou se estão em pt-pt sff ?!!

sim pela diferença de quase 10€ compensa mandar vir do Uk

[JRibeiro]

Review da Terceira Temporada

HBO's 'Game of Thrones' returns for season 3, busy as ever

The George R.R. Martin fantasy novels that "Game of Thrones" is based on are the HBO drama's greatest asset, but also its biggest obstacle.

On the one hand, Martin's "A Song of Ice and Fire" series has given TV producers David Benioff and D.B. Weiss a rich world, juicy storylines, and a seemingly inexhaustible supply of amazing characters. It's hard to believe, for instance, watching the new season — it begins on Sunday night at 9 — that Gwendoline Christie's amazonian Brienne of Tarth hasn't been around since day one, so indelible has she become. Again and again, Benioff and Weiss seem to find the perfect actor for each role, this year adding, among others, Dame Diana Rigg as Lady Olenna Redwyne (sort of the Dowager Countess from “Downton Abbey” if she were a wartime consiglieri) and Ciaran Hinds as Mance Rayder (pragmatic king of the wild people who live north of the show’s fictional kingdom of Westeros).

On the other, there is just so much going on in the books(*), and that’s necessary to telling the story coherently on television, that Benioff and Weiss at times seem like Lucy and Ethel trying to keep up with the chocolates on the conveyer belt. We bounce from locale to locale, character to character, just trying to keep the story moving: five minutes with clever imp Tyrion Lanister (Peter Dinklage) angling to secure his position in a family that despises him, then five minutes with naïve soldier Jon Snow (Kit Harrington) as he embeds himself in Mance’s camp, then five across the sea where Daenerys Targaryen (Emilia Clarke) is amassing an army to take back the throne of Westeros that once belonged to her family.

(*) It's at this point that I should include my usual disclaimer about this series: I have not read Martin's books, nor do I intend to at least until "Game of Thrones" is over. If I'd already read them before the show began, that'd be fine. But since I hadn't, I want to see if the show can make sense and work for a viewer who's never turned a single page of Martin's prose. If knowledge of the books is a prerequisite for fully appreciating the TV show, then Benioff and Weiss have failed as storytellers.

Many past and present HBO dramas have employed a similarly fragmented narrative style, but it feels like “Game of Thrones” takes this to an extreme. On “The Wire,” for instance, characters frequently crossed paths, and when they didn’t, you could tell how one person’s actions were affecting someone else far away. On “Boardwalk Empire,” the narrative strands don’t always seem clearly tied together at first, but they inevitably come together in satisfying fashion by season’s end.

Both Martin and “Game of Thrones” are playing a longer game than that. There are characters like Daenerys and Jon Snow who are thousands of miles away from the central action in the Westeros capital of King’s Landing, and their stories seem like they’ll take a long while before directly impacting what Tyrion and his nasty relatives are up to. Several characters spent all of last season seemingly just traveling from Point A to Point B on a map. It’s all very clearly leading somewhere, but in many ways “Game of Thrones” requires more patience than its predecessors, and the fractured storytelling makes it harder to invest in what’s happening on the way to the big payoffs. We’re very rarely in any locale, with any group of characters, long enough for each story to have the emotional resonance that the material deserves.

I had accepted this brand of storytelling as the cost of doing business — as the only way Benioff and Weiss could reasonably adapt the books and allow me to get to know great characters like Tyrion, brave warrior girl Arya Stark (Maisie Williams) or repulsive boy king Joffrey (Jack Gleeson). But then the show gave us “Blackwater,” the penultimate episode of the second season, and my entire perspective on what “Game of Thrones” could be — and what it wasn’t most of the time — changed.

That episode was notable for two differences from the norm. First, where the show had generally avoided showing long battle sequences to save both money and time, “Blackwater” gave us extended, thrilling action on both sea and land. Second — and more importantly — it dropped any pretense of trying to provide a comprehensive view of this world for one week. Any character who wasn’t in King’s Landing for the battle was ignored, which gave us more time to see how each person there was reacting to events, and for all of the stories to be felt much more deeply than with the tour guide approach the series had previously taken.

Suddenly, a host of possibilities presented themselves. Instead of simply telling the events of the books in something resembling chronological order, being sure to check in with as many characters each week as possible, it seemed like “Game of Thrones” had found a way to adapt Martin’s stories for television in a way that would better suit the new medium, even as it was being faithful to the characters and world.

Rather than parcel out fairly thin Daenerys and Jon Snow stories over the course of a season, the show could perhaps concentrate both of them into a single episode, where the full journey in one night would have more impact than the handful of steps we were getting weekly. It wouldn’t be practical to do this in every episode, or for every character, but periodically going for depth over breadth seemed a wise idea, even if it meant departing from the text even more substantially than Benioff and Weiss already had. (The series has introduced several new characters and at times added story arcs that didn’t exist in the books.)

The first four episodes of season 3, however, tell stories pretty much the way the show always has, for good and for ill. Some characters have more interesting stories this year than they did last. (Rather than whine about her stolen dragons, Daenerys becomes a more active, assertive figure, even if she’s still an ocean away.) Others take a step back. (Alfie Allen’s Theon Greyjoy was one of the emotional centerpieces of season 2; his appearances in the early going here are easily the most confounding part of the new season.) And for the most part, each story is presented one tiny morsel at a time. Some of the characters and performances (Tyrion, for instance) are rich enough that they make you feel something even when they appear briefly; others (Richard Madden as the drippy King in the North, Robb Stark) need far more concentration than they get to be as compelling as the show needs them to be.

There are, as usual, amazing moments, like spymaster Varys (Conleth Hill) telling Tyrion the story of how he became a eunuch, or Daenerys being introduced to an army of slaves who’ve had their individuality systematically stripped away, or Brienne getting into a duel with her captive, Jaime Lannister (Nikolaj Coster-Waldau). The major new characters instantly feel as if they’ve always been there, and previously minor ones step impressively to the fore, like Natalie Dormer as Joffrey’s canny fiancée Margaery.

On a press conference call yesterday, Benioff said that it simply isn't practical to do a "Blackwater"-style episode focusing on fewer characters more than once a season. There are too many stories and too many characters to keep track of over the course of 10 hours (which is the most they say they can realistically produce per year), and this is the only realistic way to do it.

For the most part, Benioff and Weiss have earned the trust of fans of the books and/or show. They're there in the trenches, trying to adapt this unadaptable series of books. If they say this is how it has to be done, they're probably right. And made this way, “Game of Thrones” remains a very entertaining series set in a very rich world. But the longer it’s on, the more it feels like Benioff and Weiss are only scratching the surface of that world — even if that may be the only way to coherently explore it.

[PanterA]

Eu já revi a season 1 e 2 em Bluray. Estou 100% preparado e lembrado para esta nova season. :D

[JRibeiro]

Are the Lands of Westeros Inspired by Real-Life Countries?



Answer by Lucas Mund, history teacher:

I love this question! As a history lover, I can see clear similarities between Westeros and Medieval Europe. GRR Martin has said that he does not like one to one comparisons, but that he was influenced by real life countries and people. A lot of his influences are very clear, others are more up to debate.

The North = Russia and Slavic Eastern Europe
Reason: Vast with sparse population. Ports hold the most population and power (White Harbor = St. Petersburg). Long and hard winters. Impossible to invade (just ask Hitler and Napoleon). One of the last parts of continent to leave the Old Gods = pagan/polytheistic religions and convert to the New Gods = Christianity). Moscow = Winterfell because they are in the middle of a vast frozen land.

The Vale = Alps
Reason: Very mountainous with rich valleys for farming. With a coast (The Fingers) on the sea. Mostly stay out of the conflicts of the continent.

Riverlands = Low Countries and the Rhineland
Reason: Great farming and many rivers. Easily conquered by other countries. Rhine River (indicated on the map) =The Trident.

Iron Islands = Scandinavia
Reason: By far the easiest comparison because the Iron Born are the Vikings. The Vikings and Iron Born are raiders in long boats. The land is cold, poor farmland (“We do not sow”) and has terrible storms. The land also is known for its iron mines.

Westerlands = British Isles
Reason: Have rich mines (Westerlands have gold and Britain has iron, silver, and tin). Rich, hill-covered country with many good ports. Both have the lion as their symbol. Divided from the rest of the continent by hills or English Channel.

The Reach = France
Reason: Excellent farmland with romantic people that love wine and flowers. Very powerful country when mobilized. Paris = Highgarden because they are large flamboyant cities up river from the ocean.

Stormlands = Italy
Reason: Rely on the heavy trade of the Narrow Sea = Med. Sea. Mountainous peninsula that sticks out into the sea. Has constant storms. Rome = Storm’s End because they are ancient fortifications that are based on sea trade.

Dorne = Spain and Portugal
Reason: Very hot and dry land. Makes great wine. Stays out of the business of the rest of the countries for the most part. Peninsula separated from the rest of the continent by mountains (Pyrenees = Red Mountains). Was not conquered until later in history (Spain and Portugal during the Reconquista and Dorne joined the realm with a marriage contract two centuries after the original Targaryen conquest).

Crownlands = Germany
Reason: Rich, largely forested land that is always fought over and is in the middle of the continent.

Dragon Stone = Malta
Reason: Small island in the middle of the sea (Narrow Sea or Med Sea). Gets hit with many ship-breaking storms. Great place for a navy because of its strategic location.

Other peoples:

Dothraki = Mongols and Huns
Nomadic, horse raiders that eat horse and drink horse milk. Children were taught to ride at a very young age. Warriors were lightly armored because they preferred speed over defense. Did not use a navy.

Valyria = Ancient Greece
Ancient, knowledgeable people that colonized and influenced lots of Westeros/Europe but over time most of their knowledge was lost. Their language formed the base for the continent’s language(s). Reasons why Valyria is not Rome: 1. Valyria was in a faraway land and Rome is in the center of Europe. Greece is in Europe but is on the edge. 2. Ancient Greece was further back in history than Rome. The gap between Medieval Europe and Rome is just a few hundred years. Whereas the time between Ancient Greece and Medieval Europe is around 1,000 years like the 1,000 gap between modern Westeros and the Doom of Valyria.

Free Cities (Lys, Braavos, Pentos, Norvos, Myr, etc…) = The various cities of the Eastern Mediterranean and Middle East (Constantinople, Tyre, Alexandria, Baghdad, etc… )

Constantly fighting, but are rich and knowledgeable. Wealth is based on trade. Slavery is outlawed. Built on coasts or rivers.

Slavers Bay = Slave Coast of Africa
Bay that has many large ports that trade mostly in slaves.

Ibben = Iceland
Island far to the north that is often frozen. People rely on whale and seal meat and skins.

[JRibeiro]

The triumphant return of HBO’s ‘Game of Thrones’: We’re not worthy!



To do real justice to “Game of Thrones,” I’d have to quit my job and tackle those 4,000 or so unread pages of George R.R. Martin’s series of five fantasy novels on which the finely crafted HBO series is based. There just isn’t that sort of time in my sort of world. “Game of Thrones,” which begins its third season Sunday night, is like no other TV show around right now — brilliant, exasperating, enthralling, and, if you let it become so, hard work.

It’s rare that I want take-backs as a critic, but it still pains me to encounter my first “Game of Thrones” review in the archives, in which I was too dismissive of the show when it began in 2011. I was right about a couple of things — “Game of Thrones” is and always will be a tad supercilious — and wrong about what I perceived to be its barrier to entry, which only revealed my bias against the tropes of fantasy. (Swords, dragons, castles, women as subservient wenches, etc.)

Yet for all its daunting and deliberate complexity, “Game of Thrones” succeeds because it accommodates both the casual viewer and the rabid fanatic, which is a nearly impossible trick in an age in which we ingest television and other media in the manner of a chicken who has outsmarted the Skinner box. Even more difficult is to make a big-budget nerd-out such as “Game of Thrones” resonate so completely with more fickle audiences, who are constantly calculating their time investment (and the amount of their cable bills) against measurable satisfaction.

The show, created by David Benioff and D.B. Weiss, makes room for the people who’ve read Martin’s books and the people who never will. It offers the AP-class challenge of myriad plots and characters without the insult of expositional dialogue or explanatory recap for those who lag behind. You can inform yourself deeply about its every twist and nuance (the Wikipedia entries alone run into the thousands of words) or — a really big OR — you can just hop on for the ride.

In this regard, “Game of Thrones” is a masterpiece in the making, now entering the hallowed territory of “The Wire.” It demands your attention, but it also rewards any effort you give it, no matter how small. Part of the pleasure is in letting it wash over you, admiring its craftwork. “Game of Thrones” revels in the epic breadth of its source material, but never forgets that some of us slobs are simply watching television.

I don’t use the word “simply” as a meaningless adverb here. There is perhaps no more simple watcher of “Game of Thrones” than yours truly. I never ask “Who’s that again?” during an episode anymore. I don’t reach for my phone to look it up. I just bask in what’s happening and let it take hold.

I feel strongly about representing this particular viewer demographic whenever the show comes up in conversation, insisting that one can be ill-prepared for “Game of Thrones” and still partake in it, just like you needn’t know what’s going on with every work in a museum to appreciate it. Having seen the first four episodes of this new season, I couldn’t stop thinking about the highest compliment paid by the basement-dwelling Wayne and Garth in “Saturday Night Live” episodes of yore: We’re not worthy!

After all, can “Game of Thrones” truly belong to those of us who would probably not earn a passing grade on a multiple-choice exam about its central plots and characters? I am always just a bit wrong about their names and how to spell them, and like many, I get my royal houses of Westeros easily confused. Is it Cersey? Cersei? Hershey? Scratch that and just write “evil queen regent, mother of Joffrey.” (Jeoffrie? Geoffrey?)

However they spell their names, they’re still at the cold center of “Game of Thrones,” where the Lannister house rules King’s Landing with an uneasy grip. Peter Dinklage continues his standout performance as the vertically challenged Tyrion Lannister, who saved King’s Landing from invasion at the end of last season but received only scorn from his vainglorious father, Tywin (Charles Dance). When Tyrion asks Tywin for more power, his father scoffs: “I gave you real power and authority, and you chose to spend your days as you always have — bedding harlots and drinking with thieves.”

“Occasionally I drank with the harlots,” Tyrion drolly replies.

“Game of Thrones” involves, by my count, seven or eight separate warring factions spread across the make-believe, medieval continent of Westeros, depending on whether or not you count the brotherhood of the Night’s Watch and the zombie-like White Walkers; add to that another army amassing across a sea, led by Daenerys Targaryen (played by Emilia Clarke) who possesses three adolescent dragons and an unbending drive to reclaim the throne for her people.

Which I hope she does. “Game of Thrones” has mastered the modern art of the free-floating moral compass. You find yourself rooting for characters you disliked in season 1 or 2 — Daenerys being my current example — while remaining loyal to its purest heroes, such as stout-hearted Jon Snow (Kit Harington), stranded in the snowy north with the Wildings; or plucky Arya Stark (Maisie Williams), who has fallen in with a group of freelance warriors known as the Brotherhood Without Banners.

Elsewhere this season, there is a royal wedding in the works at King’s Landing; Jaime Lannister (Nikolaj Coster-Waldau) and the big-lady knight (Brienne of Tarth, yes, that’s the one — played by Gwendoline Christie) are still making their way across Westeros; the men of the Night’s Watch are lost in zombieland. And yes, I know that to call the White Walkers zombies denigrates “Game of Thrones” and lumps it in with the far less sophisticated, though still enjoyable, AMC show “The Walking Dead.” But again, I implore you: Let some of us watch “Game of Thrones” our own way, with whatever pop references and misnomers we require to get there.

For a viewer like me, the show’s most generous moment might still be its opening theme: Against a thunderous drumbeat and mournful Ren-faire cello, we see a 3-D map of Westeros, its cities and regions rising and expanding like a cross between the Risk board and an animated set of Tinker Toys. The map — which has been revised for the current season — is in­cred­ibly helpful as an orientation tool and a thoughtful gesture for the perpetually lost.

Come to find, everyone loves to get lost in “Game of Thrones,” even those who can keep their Baratheons straight from their Lannisters, Tyrells and Greyjoys. Its allure is that it presents us with tangled knots, which is generally not considered a good business plan for a TV drama, especially when it is delivered in British accents and occasional subtitles.

But what if the broad appeal and open-door policy of “Game of Thrones” reflect how smart premium TV viewers have become? Such audiences are the consumers who reach expert levels in video games, who can recite entire scenes from old movies and shows. They are plugged in all day long to news and entertainment, nimbly dancing through open tabs on multiple devices, updating their statuses and upgrading their access as they go. Nothing gets by them — no joke uncracked, no outrage unresponded to, no release of a new iPhone unpurchased. For them, refuge is found only in tales of the apocalypse (“The Walking Dead”) or despair (“Mad Men”) or, in the case of “Game of Thrones,” a power grab that spans a continent and a generation and involves dozens of main and supporting characters.

That “Game of Thrones” has achieved zeitgeist status should offer a shred of hope for anyone who prematurely mourned the American attention span. It turns out we can pay meticulous attention when we want to. Imagine if the power exerted in analyzing and comprehending “Game of Thrones” could be exerted on the debt crisis?

This era was made for such a story. “Game of Thrones” is a reward for people who know too much. It’s one of the few places on TV where they can use their advanced multi-tasking and light-speed comprehension skills; where, at last, one can sink deeply and satisfying into the couch and feel like that college degree is doing more than accruing interest.

[JRibeiro]

Série renovada para uma quarta temporada, o que era mais que esperado.

[Musicslave]

queria mais deste regresso, queria menos personagens, queria maior destaque a somente 3/4 do que 5 min a cada uma.
alem de que introduziram personagens e historias sem o minino de background e quem não conhece os livros pode ficar algo perdido.
ainda assim, o dialogo entre o tyrion e o pai foi muito bom, e para lá da Muralha idem, de resto pouco mais existe para realçar

[Bladder]

Eu já decidi que apenas abordarei esta série quando ela chegar ao fim da season.

Não vou cometer o mesmo erro que fiz com a última onde andei à nora.

Espero assim ter uma melhor apreciação do todo.

[Musicslave]

veremos se tens sorte.. é que ainda vão introduzir mais personagens, quero ver como vão abordar a questão..
começa a ser dificil, bom bom seria os epis. terem 1h30+-

[Bladder]

Bom, não tenho acompanhado...

Como é que isto vai passados 6 episódios e 4 para acabar a season?

Vale a pena?

Para mim a 1ª foi melhor, mas de acordo com os meus gostos e penso, mais equilibrada, a 2ª não gostei tanto mas ainda a hei de revisitar.