(ma niente Bravi Camerati visto che non è stato annunciato alcun attore per Vargo Hoat)
In realtà si sa che ci sarà un personaggio di nome "Locke" interpretato da Noah Taylor, che pare potrebbe prendere il posto di Vargo. Qui c'è l'intervista (lunga) agli attori di Jaime e Brienne dove si parla anche di lui:
FaB: Put this in a general sense. We all know you worked with Noah Taylor this season. Talk about Noah Taylor. So few of us know anything about him. What was it like working with him?
(NOTE: Noah Taylor plays “Locke,” a Bolton bannerman that’s, essentially, replaced Vargo Hoat, adding a thread of continuity to House Bolton.)
In realtà si sa che ci sarà un personaggio di nome "Locke" interpretato da Noah Taylor, che pare potrebbe prendere il posto di Vargo.
Interessante!
Tuttavia essendo un uomo dei Bolton non compariranno i Bravi Camerati... Possibile che gente come Shagwell e Urswyck faranno parte del suo seguito o verranno tagliati via? Realisticamente ipotizzo la seconda... 
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PS. E Qyburn? Spero che farà la sua comparsa!
PS. E Qyburn? Spero che farà la sua comparsa!
Di quello siamo sicuri, c'è già l'attore che lo interpreta!
scusate ragazzi ma anche se mi sono spoilerizzata qualcosa visto che sono all'inizio del portale delle tenebre, sapreste dirmi fin doove arriva la terza stagione? perche non sno ancora arrivata nel libro alla resurrezione di ZombieCat 
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p:s. ho appena letto il regolamento della terza stagione...quindi comprenderà tutti e tre i volumi, quindi ci saranno anhe gli avvenimenti del portale delle tenebre giusto????
scusate ragazzi ma anche se mi sono spoilerizzata qualcosa visto che sono all'inizio del portale delle tenebre, sapreste dirmi fin doove arriva la terza stagione? perche non sno ancora arrivata nel libro alla resurrezione di ZombieCat
p:s. ho appena letto il regolamento della terza stagione...quindi comprenderà tutti e tre i volumi, quindi ci saranno anhe gli avvenimenti del portale delle tenebre giusto????
No. In realtà non sappiamo con esattezza dove arriverà la terza stagione, anche se più o meno dovrebbe corrispondere a un po' più della metà di ASOS. Ma il grosso degli eventi de "Il portale delle tenebre" lo vedremo nella quarta stagione.
« I met a traveller from an antique land
Who said: Two vast and trunkless legs of stone
Stand in the desert. Near them on the sand,
Half sunk, a shatter'd visage lies, whose frown
And wrinkled lip and sneer of cold command
Tell that its sculptor well those passions read
Which yet survive, stamp'd on these lifeless things,
The hand that mock'd them and the heart that fed.
And on the pedestal these words appear:
"My name is Ozymandias, king of kings:
Look on my works, ye Mighty, and despair!"
Nothing beside remains. Round the decay
Of that colossal wreck, boundless and bare,
The lone and level sands stretch far away. »
Intervista a GRRM di The Telegraph.
Una recensione su tutta la stagione 3:
When it launched in 2011, HBO’s fantasy drama Game of Thrones quickly became part of the global collective consciousness, an often brutally violent and staggeringly beautiful series that offered viewers an immersive television experience.
Based on the gargantuan bestselling novel series A Song of Ice and Fire by George R.R. Martin, Game of Thrones depicts the bloody and vicious battle for control of the Iron Throne in the Seven Kingdoms of Westeros, a fictional world that bears a resemblance to medieval Europe ... if Europe had once been the home of magic, dragons, and a long-slumbering ancient evil. However, unlike most fantasy stories,Game of Thrones presents a complex morality that is far more nuanced than simply the forces of good vs. evil. Here, good men are killed while the wicked are rewarded; innocence suffers in the face of depravity; and everyone has a personal agenda to advance, a knife hidden behind the most beatific of smiles.
Season 3 of Game of Thrones kicks off on HBO on March 31 with 10 episodes that are based on Martin’s perhaps most beloved novel, A Storm of Swords, a hefty 1,000-page tome that is by far the most complicated and intricate of the five books in the series to date. It is a sweeping saga that flits between dozens of narrators and across continents—from the sultry heat of Slaver’s Bay to the raw iciness beyond the Wall—as alliances are formed and broken, lives taken, and conspiracies hatched.
Translating such a monumental work of fiction to the screen is no easy feat, and executive producers David Benioff and D.B. Weiss have done an incredible job thus far in balancing the needs of diehard fans, the demands of the story, and a sense of accessibility to those viewers who don’t detect the nuances between the Dothraki and High Valyrian tongues. Adaptation, particularly of an ongoing series, is a fluid, mercurial thing, and the show’s executive producers have proven largely capable of shifting content, paring it down, and inventing new material in order to make the narrative fit within the confines of a weekly television series.
Season 3, which will depict roughly the first half of Martin’s A Storm of Swords, will present Benioff and Weiss with their greatest challenge yet, as both sides attempt to pick up the pieces after the last season’s climactic Battle of the Blackwater. The first four episodes of the new season, provided to critics ahead of its premiere, demonstrate a canny ability to fuse the literary with the visual, resulting in an exhilarating and magnificent thing of beauty, particularly in those scenes that make full use of locations as diverse as Iceland, Croatia, and Morocco.
While Season 3, like the novel on which it is based, takes a little while to get going, when it does pick up speed, it soars—particularly in the sensational third and fourth installments (“Walk of Punishment” and “And Now His Watch Is Ended”), both written by Benioff and Weiss. The first episode back lacks energy and intensity, but provides a necessary foundation off of which to build dozens of separate plots for the scattered characters.
And scattered they are: some of our characters are broken and defeated, while other factions are still locked in a savage civil war as the Lannister clan retains control of King’s Landing, the seat of power for the Seven Kingdoms. But while the lions and wolves continue to fight their never-ending war, winter is coming to Westeros, and with it a true threat, for the white walkers are stirring once more.
Far across the sea, Daenerys Targaryen (Emilia Clarke) looks for an army to return her to her rightful place atop the throne. Her storyline, involving the slave trade, is particularly solid, as it allows the headstrong princess the ability to tap into her fortitude and determination, resulting in a return to a stronger and fiercer Daenerys than we’ve seen in a while (particularly after the relative weakness of last season’s “house of the undying” plot). Likewise, the upcoming nuptials between malicious brat King Joffrey (Jack Gleeson) and manipulative bride-to-be Margaery Tyrell (Natalie Dormer) prove to be a rich source for conflict and drama. As the queen regent, Cersei (Lena Headey), frets about her loss of stature and feuds with her brother, Tyrion (Peter Dinklage), Margaery’s grandmother, Lady Olenna—played to perfection by Dame Diana Rigg—proves herself a worthy conspirator behind the scenes, her easy nature concealing a sharp wit and cunning ruthlessness. (They don’t call her the Queen of Thorns for nothing.)
Elsewhere, there is intriguing forward momentum surrounding young lord Bran Stark (Isaac Hempstead-Wright), as he encounters two youngsters who may hold knowledge about his strange abilities and his rapport with his dire wolf. Bran’s sister, Arya (Maisie Williams), continues her own journey of survival, crossing paths with mercenaries, villains, and a band of outsiders. Their struggles—along with those of Brienne of Tarth (Gwendoline Christie) and her prisoner, Jaime Lannister (Nikolaj Coster-Waldau)—through the cold and rough landscape are at odds with the luxury at play at King’s Landing, a capital city where treachery and scheming are the currency of the land.
With this many storylines whizzing by like arrows, some are bound to thud to earth rather than hit their mark. A second episode monologue by Catelyn Stark (Michelle Fairley), about her relationship with her late husband’s bastard Jon Snow (Kit Harington), is particularly head-scratching, almost tantamount to outright character assassination. And diehard fans of the books may be perturbed by a change to a subplot involving hapless Night’s Watch knight Samwell Tarly (John Bradley). In fact, several shocking revelations within the novels are seemingly spelled out for the viewer rather than left until later to unfurl as major plot twists.
But there are still plenty of mysteries and surprises in store in an otherwise stellar start to the season. Season 3 of Game of Thrones promises to be its best yet, a triumphant and commanding addition to the series, one that asks tough questions about glory and defeat, oaths and bonds, and about the nature of power, an issue that lies at the heart of Martin’s work. What is its true cost? And what are we each willing to do in order to attain even a rare sliver of influence? In the midst of war, is there any semblance of humanity left?
These are questions that are typically found in the weightiest of literature, rather than in a drama about a fractured kingdom, where dormant magic—embodied by three dragons—is slowly returning to the world. But that is part of the beauty and wonder of Game of Thrones: it poses existential questions as it engages in the sort of sex and violence you would expect from a premium cable program.
The sense of jeopardy here is palpable, creating an atmosphere where no character is ever truly safe. All men must die, as Martin reminds us several times over in the novels, and the same holds true within the transcendent Game of Thrones: the pleasures of life are seen as fleeting and ephemeral, but death conquers all in the end.
Recenzione molto positiva e fatta evidentemente da un lettore e che pone 2-3 questioni importanti:
1. La decisione di Robb di nominare Jon come suo erede avviene nella seconda puntata (lo possiamo desumere dal fatto che Catelyn parla del suo rapporto con Jon)
2. La storyline di Sam è stata cambiata in un modo tale che i lettori potrebbero digerirla poco. Cosa vorrà dire? Che non uccide l'Estraneo? O qualcosa di peggio? Potrebbero per assurdo uccidere Sam?.
« I met a traveller from an antique land
Who said: Two vast and trunkless legs of stone
Stand in the desert. Near them on the sand,
Half sunk, a shatter'd visage lies, whose frown
And wrinkled lip and sneer of cold command
Tell that its sculptor well those passions read
Which yet survive, stamp'd on these lifeless things,
The hand that mock'd them and the heart that fed.
And on the pedestal these words appear:
"My name is Ozymandias, king of kings:
Look on my works, ye Mighty, and despair!"
Nothing beside remains. Round the decay
Of that colossal wreck, boundless and bare,
The lone and level sands stretch far away. »
La storyline di Sam fino al portale è una delle mie preferite, quindi se è stata cambiata di molto già sono preoccupata, magari gli fanno intraprendere il viaggio in allegra compagnia degli estranei 
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In realtà dovrebbe essere una recensione non di tutta la stagione ma dei primi 4 episodi, che sono stati dati ad alcuni critici televisivi americani in anticipoUna recensione su tutta la stagione 3:
no non possono cambiare la storyline di sam!non possono farlo morire!!!io lo stra adoro è uno dei miei preferiti non ci potrei credere 
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Questo è il commento di un altro che ha visto le prime 4 puntate
This is all hugely interesting for me, and I’m being completely honest. I love debate.
I have seen the episode(s) in question. I am in almost total agreement with Jace’s review (so much so that I need to figure out how to re-word what I have already written for an upcoming TVEquals review of the first 4 episodes lest my words border on plagiarism). SPOILERS (OBVIOUSLY) below:
I think the first episode is a little slow. There’s a lot of catching up to do, so there is more than a little “let’s explain where we are” in the dialogue. So by its very nature it’s going to be a bit rough-hewn. Also, I wasn’t a huge fan of HBO’s vision of Tormund — I prefer the never-ruffled boisterous guy from the books rather than the Angry Biker we meet. Some people didn’t like the fact that we got no Arya, no Jaime and Brienne, but I’m actually a fan of not cramming every character into one episode.
But there’s still plenty of good. Dany’s dragons (which most of you have seen in various previews) are so well done–and are basically becoming scary as shit. Yes, there is no “Arstan Whitebeard,” but having that name serves nothing, as we the audience can spot Ian McIlhenny under that beard almost immediately. I loved his intro–loved everything, in fact, about Dany’s story. Daenerys is one of the stars of ASoS, and she is served exceedingly well here.
I do see how fans of Catelyn could be irked by her discussion (with Talisa of all people) about Jon Snow. The scene revolves around how Cat once prayed for Jon Snow, who was extremely ill, promising the Seven (or the Mother) that if he was allowed to live, she would try to treat him more fairly, and even suggest to Ned that he should legitimize Jon. She did this because she knew how his death would affect Ned, who she loved. She admits to Talisa that once he recovered she was not able to do that, and sees it as one of her great failings.
It feels like, to me, the writers wanted to somehow make amends for the hate Cat gets by making her a little more sympathetic to Jon Snow fans, yet it really only succeeds in underlining some of the changes that have irked many people. Now let me say this: The scene is not as egregious as some of the season 2 changes. Could Cat have had this discussion with, say, Jeyne Westerling? Quite possibly. It doesn’t contradict anything really, other than maybe adding some regret for her treatment of him. Could Cat have had moments where she didn’t hate Jon Snow? I think so, because, as some people have pointed out, Cat’s defining characteristics don’t revolve around Jon Snow. So logically that makes sense. Only in the context of the scene does it feel like: This Is All About Jon.
Now you could argue, “Her even considering legitimizing Jon Snow goes against everything she believes,” and you might have a case. But I suspect they are setting up an even bigger confrontation with Robb, where this conflict in her heart just won’t budge, making for a more visceral performance by Madden and Fairley. At least I hope.
Anyway, that happens in the second episode, which is stronger than the first. The third is stronger than the second (and ends with a OMG moment that you expect but still—-you’re still like O.O when it hits) …
… and the 4th episode is even better than than the third, and is easily one of the greatest GoT episode of all time.
E questa è un'altra recensione http://cultural-lear...rones-season-3/
Finora tutti lettori, comunque
Inutile dire che SPOILER PUNTATA 3x02
non mi piace affatto quel cambiamento di Catelyn
Inutile dire che SPOILER PUNTATA 3x02
non mi piace affatto quel cambiamento di Catelyn
Neanche a me piace, perchè
stravolge completamente il senso del personaggio e sembra voler alleggerire il rapporto tra i due
.
Certo che la quarta puntata deve essere fatta davvero bene se più o meno tutte le recensioni lo confermano.
« I met a traveller from an antique land
Who said: Two vast and trunkless legs of stone
Stand in the desert. Near them on the sand,
Half sunk, a shatter'd visage lies, whose frown
And wrinkled lip and sneer of cold command
Tell that its sculptor well those passions read
Which yet survive, stamp'd on these lifeless things,
The hand that mock'd them and the heart that fed.
And on the pedestal these words appear:
"My name is Ozymandias, king of kings:
Look on my works, ye Mighty, and despair!"
Nothing beside remains. Round the decay
Of that colossal wreck, boundless and bare,
The lone and level sands stretch far away. »
Io sto restando alla larga da tutte queste recensioni, non voglio spoilerarmi così tanto! Tanto manca poco
nessuna novità da SkY?
