De côté pour plus tard, j'ai pas encore maté la série

De côté, pas lu. La série est sur ma watchlist.

Article de 2020.

« Des critiques raciales que l'auteur des livres Andrzej Sapkowski ne comprend pas. Il a dévoilé son désarroi face à ce type de commentaires auprès de Wyborcza : "pour autant que je m'en souvienne, la couleur de la peau n'est pas abordée en détails dans mes livres, donc les créateurs de la série peuvent s'exprimer librement, tout est possible et tout est permis. C'est ainsi que cela aurait pu être, après tout. Cela ne change rien qu'ils passent de blonds à la couleur blanche à des personnages noirs". »

« C'était le cas pour Lupin, pour Germinal, c'est le cas aujourd'hui pour le Seigneur des Anneaux, et ça sera encore le cas pour la prochaine série à succès, mais il faut se rendre compte à quel point c'est grave que les gens ne supportent même plus de voir des noir.e.s à la télé

C'est littéralement ça hein j'exagère même pas, les gens sont dérangé.e.s parce-qu'il y a des n o i r s dans une série on peut pas faire plus flagrant comme racisme

Le propos c'est pas "est-ce qu'il y avait des noirs dans les mines au XIXe" ou "est-ce qu'il y a des noirs dans l'oeuvre de Tolkien", c'est "rendez-vous compte que le racisme est tellement banalisé que les gens ne supportent plus de voir des noir.e.s à la télé" restez focus »

Spéculations sur l'identité des personnages représentés sur les affiches de la nouvelle série Amazon

Je crois que l'OST a autant joué que l'histoire racontée au fait que j'ai vraiment bien apprécié la série.
On sort du délire Jedi/Rebelles vs Sith/Empire et on sort des sempiternelles influences de John Williams (même si ya quand même des réminiscences ici et là, Star Wars oblige j'imagine). Et honnêtement c'est plaisant.

Par contre, les 8 OST de 20min à 11 balles chacune. Moyen moyen.
https://www.qobuz.com/us-en/search?q=Ludwig+Goransson+mandalorian
Du coup, une fois n'est pas coutume :
https://drive.google.com/file/d/1SLo-JMYgNJHH1aKNy2FqKTh2y-qrbEMt/view
(c'est pas moi qui ait uploadé le truc, c'est du mp3 320, et manque un titre sur le chapitre 8 (trouvable ailleurs))
Elles sont aussi évidemment écoutables sur YT (et probablement ailleurs) https://www.youtube.com/results?search_query=mandalorian+chapter+soundtrack&sp=EgIQAw%253D%253D

Fanart de "What we do in the shadows"

« David Tennant and Michael Sheen star as two actors whose West End play has been put on hold due to Covid-19, but whose director has persuaded them to carry on rehearsing online. »

Mini série de 6 épisodes (pour le moment ?). VPN obligatoire. De côté, pas encore maté

D'autres vidéos dans le genre sur sa chaine (Chrono Trigger, Starwars, K2000, Inspecteur Gadget) https://www.youtube.com/playlist?list=PLVA6Nf5Ycg-oktsNBLNRhHoVsODcVNp1I

Pour 2021 donc. Suis vraiment curieux (j'ai lu que les 4 premiers tomes, faudrait vraiment que je continue, mais j'ai un peu la flemme de lire en ce moment)

Si The Outer Worlds s'inspire ouvertement de Firefly, ça me donne de le tester, mais le test me refroidit quand même pas mal (6/10)... :/
(matez Firefly, super série. Le film, qui la clôture est un peu nul par contre)

« Dans un cadre un peu plus neuf, The Outer Worlds aurait pu être le Firefly du jeu vidéo. Malheureusement, contrairement à la série, qui ne prend pas une ride, The Outer Worlds semble déjà, à sa sortie, avoir un peu mal vieilli. »

Je vois passer tellement de retour positif sur cette série. Faut vraiment que je la mate.

https://nerdist.com/wp-content/uploads/2019/09/Carnival-Row-RPG.pdf

La suite : https://www.youtube.com/watch?v=TCE7GDkOhMM

Hébé

« Fans of Akira may worry that a remake could tarnish its legacy, but they should hope instead that the series is a chance to see Otomo’s manga as he fully intended it: epic, intricate and comprehensive. »

Wait and see comme dirait l'autre. Je reste intrigué et un peu sceptique en même temps

:)

« Introduction à la géographie ouestrienne »
De côté, pas regardé

« “All of these petitions and things like that — I think it’s disrespectful to the crew, and the writers, and the filmmakers who have worked tirelessly over 10 years, and for 11 months shooting the last season,” Turner said. “Like 50-something night shoots. So many people worked so, so hard on it, and for people to just rubbish it because it’s not what they want to see is just disrespectful.” »

Bah, sans vouloir manquer de respect à l'équipe technique qui a fait un super travail et sans spécialement supporter ces pétitions, cette saison laisse quand même un sacré goût d'inachevé en bouche.

Perso, en dehors des incohérences, j'ai aucun souci avec les événements de l'histoire qui y sont racontés, même ceux de ce dernier épisode pck je m'attendais clairement pas à un méga happy end à la "ils vécurent heureux et eurent bcp d'enfants". Par contre, j'ai clairement un souci avec la narration, le rythme et cette sale impression qu'on eu les showrunners de vouloir finir la série au plus vite (et à la va-vite) (pour apparemment passer à autre chose).

Si les 2 premiers épisodes de cette dernière saison font encore monter la sauce, la résolution de quasi tous les arcs narratifs sont expédiés dans les 4 épisodes qui suivent, alors que GOT nous a habitués à (relativement) prendre son temps pour développer des intrigues et des personnages plutôt chiadés dans l'ensemble. Ça aurait clairement mérité plus de saisons pour être satisfaisant, et rien que ce dernier épisode aurait mérité d'être découpé en 2 voir 3 épisodes. :/

Reste que cette fin laisse quand même la porte ouverte pour du spin-off, et si c'est bien fait, ça me déplairait carrément pas.

Mais bref. #my2cents

EDIT : Bah pour le spin-off ça a l'air mort :( -> http://www.elbakin.net/fantasy/news/trone-de-fer/25657-Game-of-Thrones-:-le-patron-de-HBO-revient-sur-le-final-et-les-prequelles

C'est globalement ce que j'ai pensé de l'épisode 3 de cette saison. Un peu mitigé côté scénar, mais y avait des jolis choses côté réal'.

« It has to do with the behind-the-scenes process of plotters vs. pantsers. If you’re not familiar with the distinction, plotters create a fairly detailed outline before they commit a single word to the page. Pantsers discover the story as they write it, often treating the first draft like one big elaborate outline. Neither approach is ‘right’ - it’s just a way to characterize the writing process. But the two approaches do tend to have different advantages.

Because they have the whole story in mind, it’s usually easier for plotters to deliver tighter stories and stick the landing when it comes to endings, but their characters can sometimes feel stiff, like they’re just plot devices. Pantsers have an easier time writing realistic characters, because they generate the plot by asking themselves what this fully-realized person would do or think next in the dramatic situation the writer has dropped them in.

But because pantsers are making it up as they go along (hence the name: they’re flying by the seat of their pants), they’re prone to meandering plots and can struggle to bring everything together in a satisfying conclusion. That’s why a lot of writers plot their stories but pants their characters, and use the second draft to reconcile conflicts between the two.

What does this have to do with Game of Thrones?

Well, GRRM is one of the most epic pantsers around. He talks about writing like cultivating a garden. He plants character seeds and carefully lets them grow and grow. That’s why every plot point and fair-in-hindsight surprise landed with such devastating weight: everything that happened to these characters happened because of their past choices. But it’s also the reason why the narrative momentum of the books slowed over time.

After the first big plot arc, book four was originally going to skip ahead five years. But GRRM didn’t know how to make the gap in action feel true to the characters or the world, so he eventually decided to just write his way through those five years instead. Which meant planting more seeds, and watching those grow. And suddenly his garden was overgrown, and hard to prune without abrupt or forced resolutions. He had no choice but to follow each and every one of those plot threads, even when they didn’t really matter to the story.

And now that the plants were fully in control, he struggled to get some of the characters that had grown one way to go where they needed to be for the story. (Dany getting stuck in Meereen is the example he frequently cites.)
And because he had all this story to cover and pay off, some of which was growing in the wrong directions and needed enough narrative space to come back around, he started increasing the number of books he thought it would take him to complete the series. And, well.

So the books the showrunners were adapting ran out. What now? People assume the show suffered because they didn’t have GRRM’s rich material to draw on anymore, as if the problem was that he’s simply better at generating new plots than they are. But that’s not what happened.

For a season or two, the showrunners actually tried to take over management of GRRM’s sprawling garden, with understandably mixed results. When that didn’t work, they shifted their focus to trying to bring this huge beast in for a landing. They gave themselves a fixed endpoint - 13 episodes to the finale, and no more - and set about reverse-engineering the rest of the story they wanted to tell.

You see, I think the showrunners are not only plotters, they’re ending-focused plotters by design.

They want to deliver an ultimately satisfying experience. So with only two seasons to work with, they started asking themselves what was left to do. What could they build with the pieces left in the box? What beats did they just have to include? What big moments did they want to deliver? Where should the characters end up? What did they think we, the audience, wanted to see on screen before the show came to an end? It was a Game of Thrones bucket list. And once they had that list, it was time to connect the dots to make it all happen. So they started maneuvering the characters into the emotional and literal places they needed to be for all those dots to connect up in the right way.

That’s why Game of Thrones feels different now. A show that had been about the weight of the past became about the spectacle of the present. Characters with incredible depth and agency - all the more rope with which to hang themselves - became pieces on a giant war map. Where once the characters authored their own, terrible destinies, now they were forced to take uncharacteristic actions and make uncharacteristically bad decisions so the necessary plot points could happen and the appropriate stakes could be felt. Organic developments gave way to contrivance. Naturally-paced character arcs were rushed. Living plants became puppets of the plot. The characters just weren’t in charge anymore. The ending was.

No one’s to blame. Keeping a million plates spinning the way GRRM did is hard. And setting those plates down without breaking too many, which the showrunners had to do, is also really hard. Creation in general is hard.

There’s a reason writers have haunted eyes and always seem like they need a hug. Give everyone a break. But: the shift in approach did have consequences.

Is pantsing better than plotting? No. And this has nothing to do with which approach is ‘right’, anyway. It’s about the approach changing in the third act. That’s the sort of thing an audience can feel happening, even if they can’t put their finger on exactly why. The audience fell in love with one kind of show, but the ending is being imported from a different kind of show. Now, I happen to think the finale will stick the landing. It’s what the showrunners have been building toward these past two seasons, after all.

But to be satisfying, it matters how we get there, too. Treating the journey as equally important is how you get endings that feel earned. And it’s how characters keep feeling real the whole way through, even though they’re completing arcs some writer has chosen for them.
By placing so much emphasis on the ending, the showrunners changed the nature of the story they were telling, meaning the original story and the original characters aren’t the ones getting an ending. Their substitutes are.

That’s why no amount of spectacle or fan service can make this ending as satisfying as it should be. Resolutions invite us to consider the story as a whole; where it all started, where it all ended up. And we can feel the discontinuity in this one. »

« At this point, is it really too much to ask for some fan service paid to the brown characters for once? »

(Note : ya des spoilers des derniers épisodes)

« Historical reenactments by A-list talent are presented by inebriated storytellers. »

Ya des minis épisodes de 5 ou 6 minutes sur Youtube https://www.youtube.com/playlist?list=PLD7nPL1U-R5pSwKIcVaIQrG5BnGMbHI5H

Après en avoir vu 2 ou 3, je me demandais si ils étaient vraiment bourrés, et apparemment oui (j'imagine que ça dépend des épisodes)
https://www.glamour.com/story/how-they-make-drunk-history
https://www.grunge.com/37368/untold-truth-drunk-history/

De côté pour plus tard

« How Failure Made ‘Halt and Catch Fire’ Great »
https://www.nytimes.com/2017/10/14/arts/television/halt-and-catch-fire-finale.html

Les 2 articles contiennent du spoiler

« or Butler or LeGuin cmooonn »

😐

"Game of Thrones' White Walkers: Who They Are & What They Represent" : https://www.youtube.com/watch?v=1OapJXrc2HI

(via https://www.seven-ash-street.fr/links/?PqgbVA)