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Chen G.

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Everything posted by Chen G.

  1. I have a similar feeling regarding the show itself in some fan outlets: people seem to be satiated enough that they just accept stuff like the Harfoots which I have a fundamental issue with, and it makes one feel like something of a buzzkill… It can feel quite alienating…
  2. On their own, they could be seen as somewhat intense. But within the context of what had come before... You can't spoon-feed audiences some 40-odd hours of what are ostensibly action-comedies (actually, I would say, action-farces) and then expect them to take anything seriously. That's the one thing Avatar has over the MCU: its earnest, and in today's world that counts for a lot, at least to me.
  3. The antler guys are hunters that the Harfoots are evading. And yeah, those things are stupid too! Like Nick said, I think these people got too carried away in "we're making a fantasy show!"
  4. I actually like the idea of the sea monsters. Bringing something of the flavour of the Odyssey into Tolkien! And at least they didn't give into the temptation of having it be another Watcher in the Water!!
  5. Not all: Some extended edition segments are the original cuts of what he recorded for the theatrical: The Farewell to Lorien sequence is that: its the theatrical recording that's the alternate.
  6. The announcement trailer had Howard Shore music: a pretty nice exposition of some of the major ideas of the score, honestly.
  7. Think about it: in terms of the storytelling order of Howard Shore's "cycle" we have this piece and then the music of the Hobbit announcement trailer, and between those two we basically have a brilliant little overture for 20 hours of music. And some of us are still holding out for a Howard Shore War of the Rohirrim score!
  8. Its like the jagged reef against which their claims of "we didn't want to make a prequel" crash like the waves. I do hope we're not dealing here with filmmakers who traffic in half-truths like a Lucas.
  9. I agree. Its why I picked the Gladiator example. This show could and should have been all politiking like the scenes with Lucila and Gaius plotting against Commodus, or like the Scottish Council, or like scenes with Allenby in Lawrence of Arabia, for that matter. Those kinds of dynamics, except with characters like Miriel, Pharazon, Celebrimbor, Annatar, etecetra. Its not just that the tone of the Harfoot scenes is sugary, its that the interjections of an adventure story into the context of a Machiavelian drama is...I mean, who makes soup and say "I know what this is missing, lets chuck a chocolate cake into it!"?
  10. The overall atmosphere of those movies is nevertheless very gloomy, and they end with the hero dying as a result of his own folly. And again, the very fact that the "everyman on a quest" thing had been done so thoroughly in two very expansive trilogies, is all the more reason for this show to rather lean into the more Machiavelian aspects of its premise.
  11. Not really, no. Calling them "Harfoots" is just a kind of technicality/semantic thing, like how George Lucas pitched the aliens in Kingdom of the Crystal Skull to Spielberg as "interdimensional beings." You know what this is like? Its like if in Gladiator, intercut with all the grim revenge story of Maximus and Lucilla being menaced by the increasingly-unhinged Commodus, we would cut to a subplot about a character named Bob (about as anachronistic as "Elanor Brandyfoot") who goes on an adventure to Rome for some reason tangentially connected to the plot. Some stories don't need an "everyman on a cross-country adventure" storyline. Its cloying.
  12. You can't really hear it, but the "There and Back Again" shape is definitely contained in the arpeggios. F-Am is the progression under Beorn, so it works. What key does the piece cadences on?
  13. Yeah, I always thought that a premise is not a spoiler. But in our modern “spoiler” culture…
  14. Tragedy, in particular, is more about inevitability than about surprise. Look at Gotterdamerung: The Norns literally "spoil" almost the entire plot at the beginning!
  15. All I can speak to is for the context of this season: Its..yeah...
  16. It certainly doesn't help that the Harfoots look cloying, have cloying Potter-ish names and, in this trailer, deliver cloying, saccharine lines TO THE BLOODY CAMERA:
  17. I think the real issue with this being Gandalf isn't the contradiction of the source material, its that its cloying. Because its very much a "Gandalf is rescued and nurtured by this young Hobbit and so, millennia later, he sees something of her in Bilbo and Frodo. Ahw, isn't it just adorbs?"
  18. Still, @TheUlyssesian's point is well taken, I trust. This emphasis on secrecy and character identites being shrouded in mystery and plot twists, as well as (potentially) redeemable villains with a familial tie to the heroes - all of those elements smack of a Star Wars influence to me, and I don't like it.
  19. Quite. One of the things I do like though: Some people were born to play Dwarves and Peter Mullan is at the top of that list, and now he's playing THE Dwarf!
  20. I'm going to far afield with this and feel free to stop me at any point if you think I'm talking nonesense, but for the meanwhile, humour me. This the first Middle Earth project (well, since Bakshi's) that's helmed by Americans. Could it be that these showrunners have been reared on another, more American fantasy series - Star Wars, for instance - and are importing some of its style, including a prediliction to surprises and plot twists? I can't quite put my finger on it, but something about this show seems Star Wars-flavoured to me.
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