Game of Thrones
Game of Thrones
Musik:
Ramin DjawadiBesetzung:
Peter Dinklage, Lena Headey, Kit Harington, Emilia Clarke, Sophie Turner, Maisie Williams, Iain Glen, Nikolaj Coster-Waldau, John Bradley, Alfie Allen (mehr)Streaming (4)
Staffel(8) / Folgen(73)
Inhalte(1)
Die Sommer dauern mehrere Dekaden und die Winter können ein Leben lang anhalten in der fantastischen Welt der neuen herausragenden HBO®-Serie, basierend auf der erfolgreichen Fantasy-Buchreihe "Das Lied von Eis und Feuer von George R.R. Martin". Vom ränkevollen Süden bis hin zu den wilden Ostländern, im eisigen Norden und an der uralten Mauer, die das Land von der Dunkelheit trennt, kämpfen die machtvollen Familien der sieben Königreiche verbissen um den Eisernen Thron. Es ist ein hintergründiges und betrügerisches Spiel um Einfluss und Ehre, Unterwerfung und Triumph. Im Game of Thrones, dem Spiel um den Thron, gibt es nur zwei Möglichkeiten: Gewinn oder stirb. (Verleiher-Text)
(mehr)Kritiken (11)
The first season was a struggle. There’s so much empty dialogue, scheming that goes nowhere and raw fucking that it makes you tired. But as the episodes and seasons progress, you begin to marvel at the thoughtful interconnectedness of the individual fates, how everything fits together with surgical precision, how G.R.R. Martin, or rather the showrunners, are not afraid to shock and allow themselves the least predictable (and yet logical) twists that make your jaw drop, your back shiver, and all you can do is utter an involuntary "Bugger me!". The manner in which the fates of Arya, Sansa, Tyrion (and I could go on) unfold in the least predictable ways brings joy to the hearts of viewers who enjoy rich stories. A real viewer's delight that builds to a fantastic fourth season, and I really have no idea what they're going to top it with in the upcoming one. And the fact that the series has an unprecedented, by TV standards, large-scale set design, sets and atmosphere, where every thoughtfully invested dollar of the generous budget is evident, only confirms the quality of this exceptional achievement.
()
Without the need to vomit out a commentary full of either glorification or dirt after the first episode, I watched this third season of Rome in peace and quiet. True, the sunny amphitheaters have been replaced by the cool atmosphere of massive castles, but the characters remain. The beautifully ambiguous, non-black and white, well-detailed, and superbly acted characters, once again reinforce the belief that even when guns are blazing in a series (film), there may not necessarily be a battle because there are always enough grey eminences, schemers, and related coincidences that can shift the plot in a different way than we expect. If there is anything not worth praising, it is the direction of the last two episodes because the first one lacks proper gradation and the final one lacks a stronger epilogue resonance. When it's no longer in fashion at the library to take out Martin's books and there’s no queue for them at the bookstore, I'll drop by. I’m really intrigued by this world. [PS: My personal sympathies go out to Ser Jorah and Arya Stark, and now that list also includes Tyrion Lannister since the beginning of the second season.]
()
Ohne beleidigen zu wollen, jedoch dieses Darbieten eines etwas anderen und rauen Phantasyfilms wird hier meistens damit abgewimmelt, dass unter allen möglichen Klischees, sowohl im Bezug zur Regie als auch der Geschichte, hier viel Geschlechtsverkehr von hinten abläuft, geschimpft wird und hin und wieder jemand dahinuriniert. Ansonsten wird in den ersten beiden Teilen viel geredet, ohne dass dies jedoch bei einer Person, die mit dem Original nicht vertraut ist, ein besonderes Interesse an der Mythologie der fiktiven Welt erwecken würde (bei einem Phantasyfilm ist gerade das aber ein doch recht großer Problem). Die Charaktere sind nett, einige sogar regelrecht großartig (besonders der dekadente Zwerg Tyrion), jedoch irgendwie habe ich mich im Laufe der Zeit dabei erwischt, dass es mir egal war, was mit ihnen demnächst passieren würde. Ich vermisse diese ausgesprochen eingeweidenzerreißenden und bezaubernden Szenen, etwas, was diese Serie jenseits von Ausscheidung und Verkehr unterscheiden würde. Ich bin nicht in der Stimmung, mir die nächste Folge reinzuziehen - ein ziemliches Durcheinander für die HBO-Serie.
()
The War of the Roses and goings-on on the Apennine Peninsula under the Borgias in fantasy garb in the shape of a saga for which the label “fantasy" is too restrictive, even if it didn’t seem so to begin with. Nobody with spiky ears, no dwarves, orcs or similar critters. But we do get numerous living, non black-and-white characters (primarily Claudio... um Tyrion, who is head and shoulders above the rest) and politicians. Tons and tons of politics and tons and tons of intrigues, plotting and scheming and, somewhere in the background and sort of “by the way", epic battles that are more spoken about than taken part in; and it is no mistake that the best passages in the book are the “purges" à la Tyrion’s chapter four of “Clash of Kings". That applies to the book. Look for the bearer of the torch lit by Waltari and Graves rather than a variation on Lord of the Rings or the current unending list of generic sagas. That’s why it’s good that HBO took this under its wing, because this IS (and will be) like their Rome with a fantasy backdrop. Simply an adaptation in the form of a series which, despite not matching the image formed inside my head over many years (it isn’t made for fans of the books, but mainly for viewers without an opinion and so mainly it should be able to stand alone by itself as a series in itself; which HBO is managing so far), I find thrilling because the creators avoided following the books religiously and are not afraid of cutting to the quick, even though sometimes it’s a little too hurried and they don’t let some situations sink in properly. They often use theatrical approaches instead of regular cinema language (that only comes with the arrival of Alan Taylor and season two). Which certainly is not a criticism, just an observation. And this is a typical HBO series in the way that separate episodes don’t work too well alone, but only as part of a whole. A prime example is the finale of season one and the opening episode of season two. In each there are so many storylines that each gets their “minute under the spotlight", but there is so much of it that the result is disjointed, with a little bit of everything, which ends up being a little bit of nothing. But if you take them as part of the whole, everything suddenly seems right because, as we know, HBO simply doesn’t work in terms of seasons. For them, the start of a new season is “just" another chapter of one story; and you can tell apart separate seasons only on the basis of their constantly growing (and already high) production value. Although the creators like do it their way (from season two on I would describe it as loosely inspired by “Game of Thrones", rather than an adaptation of “Game of Thrones"), in spirit they remain faithful to the book. And what does being faithful to the book mean in the case of Game of Thrones? This doesn’t mean sticking at all costs to the wealth of stories and twists; these are not so important, can be changed, shortened, combined etc., but being faithful to the characters. The creators often follow different routes than the book’s author, but they follow them to the same destination. Which, in view of their exceptional qualities, characterization and development, I think speaks for itself. | S1: 5/5 | S2: 4/5 | S3: 4/5 | S4: 5/5 | S5: 4/5 | S6: 4/5 | S7: 4/5 | S8: 3/5 |
()
(weniger)
(mehr)
The biggest television phenomenon of the 2010s. From an inconspicuous whisper announcing a spectacle for all fantasy lovers, for whom The Lord of the Rings was a great fairy tale, through the growing hype welcoming each new episode as a mercy – to the eighth season, which even the most die-hard opponents couldn't escape. Game of Thrones was everywhere and even after the last episode, which, as expected, divided viewers into several camps, I gladly admit that its fame was well deserved. The intricate world of Westeros captivated me from the opening scene; from the finale of the first season, I wanted to know everything about the Seven Kingdoms, and despite various stumbling blocks, this journey fascinated me until the bittersweet end. Just as Martin's book source material has its weak points, so does the adaptation, logically. In its early years, it clung to the books desperately, focusing on intimacy and saving the grand moments. Later on, it accentuated storylines that received considerable attention in the books but never added any resolutions, and eventually began trimming them down somewhat insensitively. In the seventh and eighth seasons, in territory where the source material has not yet ventured (and in my opinion, nothing will change that due to the increasingly egotistical nature of the vain author), it shifts three gears up and manages in one episode to have multiple plot twists we would normally have to wait years for. Yet I find it somewhat amusing how spoiled the audience is, currently with dozens of new works being offered every month, and yet almost dissatisfied every time. Whether it's dragged out or rushed, floods of complainers are heard every time, as no variant suits their taste. While I don't completely agree with a daring stage for the main events at all costs, the obvious emphasis on viewer inaccessibility on HBO, or the cruel and sudden fates of characters whose motivations were thoroughly developed over many years, this world still fascinated me even a decent few years later, and I even prefer its television mutation to the literary one. It may not be half as elaborate, and it almost parasitizes literature at the very end, but unlike A Feast for Crows or A Dance with Dragons, I don't feel like its authors are just teasing me with an avalanche of side characters and endlessly drawn-out storylines (see Dorne – a testing stone for both versions). And those unforgettable characters, whom I grew fond of and who have forever become part of pop culture (Daenerys, Missandei, Jon, and Robb being my favorites). The world of power intrigues, where battles, love, conflicts, dragons, the undead, and revelations from the worlds of ice and fire increasingly took root, may not have offered me the ending I dreamt of, not even its restrained version which I expected. And unlike others, I can let go of these endings and accept the one offered by D.B. Weiss and David Benioff, even though they are foxes in sheep's clothing, and I won't kid myself that they didn't mock us viewers several times as the end approached by alternating obvious fan service with underlining all expectations. Each season had plenty of unforgettable moments, clashes, encounters, and plot twists, so despite various disappointments, I am staying with the highest rating even at the very end. Valar Morghulis and farewell.
()
(weniger)
(mehr)
After dozens of recommendations, I finally watched the pilot. I have to say that it grabbed me right from the start so I watched the whole series in just three days. I think it's a perfect script full of quality intrigue and slightly erotic scenes. Some of the plot twists and betrayals are breathtaking. The music is also fantastic and often sent chills down my spine. A very good series all round. HBO rocks again. It's 99% for me.
()
Game of Thrones is filmed based on a cult book saga, which is currently considered a fundamental work of the historizing fantasy subgenre. Fans often fall into the trap of mechanical comparison between the two media, criticizing the missing motifs, characters, and plots, or the deviation of film characters from their novel counterparts. This kind of conflict passes me by. I am unfamiliar with the book series, nor do I intend to read it, so I am spared the trauma of comparing both versions. Game of Thrones represents a complex alternative functional world, modeled after the peak of medieval Europe with elaborate mythology. The series has no competition and probably won't have for a long time. Think about Vláčil's Marketa Lazarová with dozens of characters, which financially exhausted the entire studio and clearly showed the limits of regional cinema. The imitation of the Middle Ages is simply a precarious and expensive affair, which only a handful of producers can afford on this scale. Tolkien fans will probably be upset, but compared to Game of Thrones, The Lord of the Rings feels like a fairytale for older children with flat black-and-white characters. Game of Thrones reeks of blood, burnt human bodies, sweat, and urine. It offers a much wider range of emotions and is much dirtier. Its weakness lies in its excessive ambition and sprawl. Some storylines will simply seem less interesting to you and you won't be able to identify with certain characters. If the plot simultaneously follows several characters in different environments, you may have to wait a while for the one you feel closest to. In any case, it is interesting to watch the tangle of intrigues and power struggles, where the author often found inspiration in the real rivalries of powerful feudal families in medieval England and France. You won't find many supernatural motifs here, the movers of the plot are not magicians, but people with their down-to-earth desire for power, glory, and wealth. Personally, I could easily do without the dragons and ghouls, as well as other favorite genre props. Overall impression: 90%.
()
It can’t quite compete with Lord of the Rings in terms of grandeur, but otherwise the Game is a good watch. Fine actors (powerhouse Sean Bean and taciturn Jason Momoa are the best in my mind), quality production design (HBO style) and the story is starting out promisingly, but a little slowly. Let’s see what it holds in store... A dragon hatching. A serial that is the real fantasy that all us fans were dreaming of. Intrigues, battles, dead bodies. It mainly relies on superbly written characters who luckily are also excellently cast. My favorites Bean and Momoa were awesome for the whole season, but not just them. Dwarfish Peter Dinklage grew on me, the way he steals every scene with supreme confidence. I also really liked Daenerys, and Emilia Clarke, who plays her, gives an impressive performance (ehem) and has absolutely no problem swapping roles (ehem, ehem). The final scene was totally chilling in her delivery. I look forward to what comes next. Season two: In terms of quality, this is going up and up. Too bad that some of the now main actors are rather dull (Stark’s son - the one with the army, Stark’s non-son, a fisherman or something) and their sub-stories slow down the action. Peter Dinklage easily dominates this season too, and grampa Lanister with Stark’s young daughter (I must try to remember their names) and Jaqen (the assassin) really spiced up this season. And then my sunshine in the night, Daenerys and her dragons. I found those three little guys (I call them Huey, Dewey and Louie) really entertaining, mainly at the end. So bring on another season... Season three: Better and better. One small problem is that some of my favorite characters are just running on the spot (Daenerys and the army of corpses in the second half look like they’re stuck in first gear with the handbrake on) and the storylines are very hard to follow, especially when you have to wait a week for each new episode. The wedding scene maybe is one of the high points, but honestly I considered something like that was unavoidable (nothing interesting could happen with that character anymore) and I think it was essential for the growth of the series for Martin to make his move. Also I relished in the torturing of Grey and I was really pleased about Daenerys buying the Unsullied and the red dragon’s tricks. I look forward to them growing up, those little tinkers. :) Season four: It starts with perhaps the most pleasant death of the entire series so far. The story moves on some. And despite countless surprising twists, it head for the most powerful finale yet. The dwarf’s fate is a central theme of the season and Peter Dinklage literally shines. The brotherly scenes are some of the best of the series. Jon Snow finally begins to show his real colors and Bran’s storyline begins to gain momentum. Arya sailing away made for a nice ending to the season, but damn, a year is too long.
()
Even though the last season is the weakest of the lot, this is still the best series ever.
()
A few years ago, I was really looking forward to this epic fantasy series. Until the end of Season 4, I more or less enjoyed it, but then came a turning point. The writers started increasingly ignoring logic, and my favorite series was gradually turning into a farce, which often made me shake my head in disbelief. I hope I live to see the day when George R. R. Martin writes the ending so that I can read it, but I’m not counting on it...
()
Maybe the best fantasy series I've ever seen. An epic story of a fight for the Iron Throne, where it’s not the size of the army that decides, but lies and intrigue, with everyone playing a double game. The characters are awesome and well-developed, each one with their own story, all of which become intriguingly intertwined over time, promising a spectacular show. S01: 10/10. S02: 10/10. S03: 8/10. S04: 9/10. S05: 10/10. S06: 10/10. S07: 7/10. S08: 6/10.
()
Verwandte News
Arbeiten an Staffel 3 von Die Ringe der Macht haben begonnen
Für die zweite Staffel wurde noch nicht einmal ein Erstausstrahlungsdatum bekannt gegeben, aber wir wissen bereits, dass die Arbeiten an der dritten Staffel, die wieder in Mittelerde spielen wird,… (mehr)
HBO plant ein weiteres Drachen-Spin-off über Aegon
Wir werden mehrere Spin-offs, Prequels oder direkte Fortsetzungen von Westeros erleben können. Im Moment steht fest, dass wir die zweite Staffel von House of the Dragon im August dieses Jahres sehen… (mehr)
Worum soll es bei den Machern von Game of Thrones in Star Wars gehen?
Patty Jenkins (Wonder Woman 1984), Damon Lindelof (Lost) und Kevin Feige (Marvel) haben alle gemeinsam, dass sie irgendwann einmal mit der Produktion eines weiteren Star-Wars-Films in Verbindung… (mehr)
Wechselt Pedro Pascal von The Mandalorian zu Fantastic Four?
Wenn Sie in den letzten Jahren auf den Fernseh- oder Kinoleinwänden den Eindruck gewonnen haben, dass der charismatische Chilene überall zu sehen ist, dann sollten Sie wissen, dass sich dieses Gefühl… (mehr)