Movies & TV Shows
Game of Thrones Travel Speeds Have Become a Problem
Game of Thrones is a series that has prided itself on realism in a fantastical setting. Any character can die at any moment from any mishap. As the series has gone on and strayed further from George RR Martin’s books, Game of Thrones has become more and more fantastical. While this leads to excellent sequences with dragons, White Walkers, Children of the Forest, and so much more, it has begun to sacrifice its realism. This is especially the case when it comes to traveling speeds in more recent seasons.
Now, some out there will argue that Game of Thrones is a fantasy and that we shouldn’t take a world with dragons and ice zombies so seriously. Normally, I’d be inclined to agree, but when a series breaks its own rules that it set out to establish over 5 seasons (and books), then it becomes an issue.
Characters, messages, and general information are traveling way too fast now. In previous seasons, it would take characters weeks, sometimes even months, to get to destinations that characters are going back and forth from in single episodes now. Just a simple glance at the map of Westeros can give you a pretty good idea of why this is an issue. You can argue that there isn’t much content left in Game of Thrones so the story needs to be wrapped up quicker, but passage of time isn’t being shown well.
*Spoilers for Game of Thrones up to the most recent episode (7×06) ahead! Proceed with caution*
Season 6 of Game of Thrones is where this issue started to rear its head, especially towards the end. Arya got Westeros from Braavos in a single episode, Jaime traveled from the Twins to King’s Landing in a few scenes and the Sept of Baelor was still burning, etc. The worst offender was Varys going from just arriving in Dorne, creating alliances, and heading back to Meereen in just a few minutes our time. All these distances would take the characters weeks to travel, and months in Varys’ case, but they all happen in single episodes.
It wouldn’t be as much of an issue if they were showing or at least implying to proper passage of time either. You could suspend disbelief for some of these season 6 super-speed journeys, but it’s basically become teleportation in season 7.
In the first episode of season 7, Cersei already knows Jon has become King in the North and has already sent him a raven (something that would take a week at least). Yet, this scene happens directly after the scene he becomes King in the North while it’s only been shown to be at most a few hours. Tyrion and Davos traveled to King’s Landing and back to Dragonstone in a single episode, while similar passage of time was shown at Winterfell. What’s even worse about that is that in the same episode Gendry goes from King’s Landing, south several hundred miles to Dragonstone, and north several thousand to the Wall.
I feel like for me personally, it’s bothered me but I could mostly ignore it and shut my mind off for quality TV. That being said, last night’s episode is where things went too far. Gendry runs a distance that took the group a whole day to walk, sends a raven all the way to Dragonstone, and Daenerys rides her dragons all the way to their location to save them. This all occurs within what is only shown to be a single day. Back at Winterfell, things are progressing as if it’s only been a day (maybe two if we’re stretching it) and Jon and company are only shown getting one night of sleep.
There is absolutely no way this could’ve happened in one day just following Game of Thrones’ own rules. Even discarding the fact that it’s a fantasy show and we shouldn’t take it seriously, when a series sets rules for itself it should follow them lest it get bogged down in plot holes like this. Last night’s episode has been the single biggest leap of faith Game of Thrones fans have been asked to take so far and fans online are already starting to call it out. Considering how few episodes we have left in the series, these kinds of major plot conveniences and dumbed down world rules are bound to continue. That isn’t to say it isn’t still a good series, but it’s not as good as it used to be due to issues like this.
Trailer for Season 7 Finale:
Orlando Bloom and David Harbour Share the Gran Turismo movie’s first trailer
Well, this movie has certainly come together quickly, just like the automobiles the franchise is centered around. In truth, Gran Turismo adaptation directed by Neil Blomkamp has already wrapped up filming and is in post-production ahead of its global theatrical release on August 11, 2023. Do you want to see a brief teaser? To view the trailer, click above.
Orlando Bloom and David Harbour provide some comments in this 60-second clip, which also includes a few brief film snippets. In essence, this is based on the real-life experiences of Jann Mardenborough, who won the 2011 GT Academy competition and later found success as a racing car driver.
In the few photos that were displayed, the cinematography seemed amazing, therefore it is obvious that this would look stunning on a large screen. During Sony’s CES press conference, Blomkamp briefly discussed how he is employing the company’s cutting-edge cameras to not only get stunning close-ups from within the car’s cockpit but also to imitate some of the game’s angles, as shown in the trailer.
“An imposing, spectacular, supersized movie,” according to the review of Avatar: The Way of Water
James Cameron was king of the bigger, better, and more contentious sequel blockbuster before he was crowned King of the World. Avatar: The Way of Water comes near enough to retain that reputation, even if his eagerly anticipated return to Pandora can’t rival Aliens or T2 for targeted tanker-weight efficiency. And it certainly knocks the flying fish off of Piranha II.
Will it become a $2 billion club member as Cameron suggests it must? We’ll see, but it’s undeniably flawed yet full of flavor (to paraphrase Guillermo del Toro(opens in new tab)). “MOVIE-MOVIE” is a sometimes strange, always magnificent sensory hit with a thematic thrust that is pleasingly genuine with an undercurrent of soft feeling. Untangling some of the story lines might require numerous viewings and three more movies. But Cameron is the best person to make the case for going to the movies again and again.
Cameron doesn’t spend much time setting the scene because the majority of people have already been to Pandora. The first scene quickly parachutes into Pandora’s rainforest, where Jake Sully (Sam Worthington) and Neytiri (Zoe Saldana), who have turned completely Na’vi, are now raising their growing family. They have three biological children: Tuktirey, Neteyam (Jamie Flatters), and Lo’ak (Trinity Bliss). Then there are the adoptees: Spider (Jack Champion), a feral human orphan orphaned by war, and Kiri (Sigourney Weaver), a type of offspring of Grace’s avatar (from the original Avatar).
Jake feels that defending his family gives him meaning. The Sully family seeks safety among Pandora’s sea clans when the evil Colonel Quaritch (Stephen Lang) reappears in (completely explained) “Recombinant” avatar form seeking “payback” for his demise. Jake hovers firmly over his tearaway brood in this instance. But how long can they evade Quaritch’s new blue marines? And isn’t knowing how to manage risk an important learning curve?
While Cameron’s bare-bones setup showcases his pulp punch as a writer, it also demonstrates his astounding skill as a world-builder. This time, Cameron doesn’t give much opportunity to pause and take in Pandora’s plant life. The lush jungle suddenly seems inhabited and alive. However, the RDA (Resources Development Administration) has grander plans for Pandora, even though life on Earth is hardly sustainable at this point. Their base of operations is a small metropolis with cutting-edge technology like robotic spider “swarm assemblers” that can create structures in a matter of days. Cameron makes sure you can sense the destruction left behind when humanity arrive on Pandora.
The Way of Water definitely has the WOW factor in terms of CG. Thirteen years later, Avatar’s spectacle-cinema upgrade has been surpassed. Hair and skin gleam; flames and dust particles transfix. The great revelation this time is the reef, which is home to the Metkayina clan, just as Avatar took time to introduce viewers to Pandora’s funky wonderland. The aquatic realm is vivid, sensual, and tranquil. The sense of weightlessness immersed in the waves reveals a new, sensitive grace in Cameron’s direction as the 3D visuals shimmer in time with Simon Franglen’s ringing score. He instills respect for the ocean in addition to entranced love because the waves are both seductive and hazardous. And the sensation of anguish is overwhelming when their residents are mistreated.
Cameron expertly balances thematic, narrative, emotional, and character strands while dazzles your eyes. Jake’s instinctive need to save his children creates danger as a thematic pattern; from the opening monologue on, Cameron treats the theme like a dorsal fin to cling to through stormy story waters. This is somewhat reminiscent of Finding Nemo.
Casting-wise, Saldana and Kate Winslet (as Ronal, the co-leader of the Metkayina tribe) are a little too much in the background, but Worthington shines as the former Na’vi trainee turned training-on-the-job father. Weaver bridges the age gap between actor and character by touchingly projecting Kiri’s feelings of exclusion and sulky eye-rolls through the mo-cap. Dalton, one of the fantastic young actors, gives bonding scenes with the whale-like Tulkun heart when they otherwise may have seemed a bit Free Willy. Additionally, Champion dispatches the Newt-like Spider, whose subplot expands on Cameron’s family-related ideas.
Although it’s unfortunate that his toxic spiel (“science pukes,” etc.) sounds familiar, the returning Lang adds explosive wrath. Cameron doesn’t spend any time brushing up on Avatar, but he occasionally uses well-known beats. The Sully clan’s water-training reworks Jake’s previous Na’vi training, while marine animals like the “ilus” are reimaginings of the “ikrans” from Avatar. When a character moans, “Can’t believe I’m tied up again,” you wonder if a little editing could have been advised. Cameron even repeats himself a little bit within the movie.
Another minor issue with the plot’s stop-start nature is how some characters’ difficulties seem to go away for long lengths of time. Cameron, though, harnesses prior career highs into a blast of full-bore, high-stakes extravaganza at the film’s climactic point to remind you who’s in charge. The Abyss’ strange wonder, Aliens’ kid danger, Titanic’s aquatic horror show, and T2’s technology are all there and have been enhanced for tension, action, and emotion. Some loose tale threads leave more questions than answers when the fire is out. However, there are three scheduled follow-ups. Even after three hours and more, Cameron’s return leaves you wanting more.
Here is the second advertisement for The Last of Us on HBO
A brand-new trailer for HBO’s live-action take on The Last of Us from PlayStation has just been released.
The program, which will debut on HBO Max on January 15, 2023, and on Sky in the UK the following day, will star Pedro Pascal and Bella Ramsey as its main characters.
The Last of Us is the first TV show produced by PlayStation Productions, a division of Sony Interactive Entertainment created to create film and television adaptations of its own game franchises.
The first game’s events will be covered, and there may even be The Last of Us Part 2-related material, according to Craig Mazin, the creator of Chernobyl, and Neil Druckmann, vice president of Naughty Dog.
The show’s main protagonists, Joel and Ellie, will be portrayed by Pedro Pascal and Bella Ramsey. Sarah, Joel’s daughter, is portrayed by Thandie Newton’s daughter Nico Parker (Dumbo), while Tommy, Joel’s brother, is portrayed by Gabriel Luna (Agents of Shield).
The Last of Us’ debut trailer was released by HBO in September.
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