Docteur Qui

The only thing I miss in this beautiful arrangement of Irina's Theme is that big, brassy rendition version of the Russians' Theme that appears on "concert arragement" of the soundtrack. I know it's all stitched together from different cues, but it's a really cool moment!

I think this is true for all of the Potter books as well. These are dark stories set in a whimsical, colorful world and the contrast makes it work even better. I'd love to see this adaptation realize that on the screen. That would be a perfect adaptation, in my opinion.
Colorful, magical whodunnits filled with season-specific and season-crossing mysteries, a vast ensemble of great characters and that twisted darkness that the plots all feature (from kidnappings to frame-ups to... whatever happened to Bertha Jorkins!) - although Rowling's dry humor is hard to translate to the screen as it's mostly done through the narrator or the world building.
 
By the way, I love that the books have such fun world building. It might create more so-called 'plot holes' than a methodical, realistic world building would have, but there's always an entertaining, original idea behind them that makes the wizarding world such fun to live in as a reader.

Fair point, I was being a bit passive aggressive. But you were being a homophobic dick so I felt compelled to. 

Yes, I had forgotten how the novels are really mystery stories at heart. Production companies love “worlds” because they’re exploitable, but a world Is just a setting, not a story.
 
Although I liked the first FB film well enough, that series never had a compelling reason to exist, but if the craft had been high enough, it could have worked. Not playing to her strengths as a mystery writer did it no favors. 
 
Keeping the mystery front and center for each episode is going to be difficult. Of course, if it doesn’t work out, who cares? The books are still good, and half the movies we already have are solid. They will spend a fortune on this show, I'm sure, but will it be Rings if Power or… actually, now that I think about it, I struggle to think of a fantasy tv adaptation that I’ve liked. Oh well, they’re screwed. 

I don't know, I really think @Docteur Qui nailed it with this comment...
 
 
And @Chen G. with this one...
 
 
"Alchemy" is a good word here. It's really hard to say exactly which combination of elements in what amount make a story work. But I think both dynamics mentioned here, among others, are definitely a factor, and take away any one ingredient, and you lose the magic (no pun intended). I'm just sceptical about the potential for an "expanded" Wizarding World Universe.
 
 

I would have preferred they capture the "slice of life" feeling by showing some interesting classes at least. Snape's Defence Against The Dark Arts lessons are some of the most entertaining in the books. Also establishing apparating for the next movie should have been an essential scene.
 
Plus I actually kind of liked Ginny and Harry's romance in the book, how they go from bantering to Harry slowly discovering he actually grew feelings for her since he spent a good chunk of the summer at the Weasley's. It's a shame the movie version is so weird and basic by comparison. It's almost Attack of the Clones level of cringe.

Francesca Gardiner was a producer on Succession, not a writer, which is an important distinction I think. Her prior writing includes His Dark Materials; I haven't watched that or read the books it's based on, but seeing as it's a generally well-received adaptation of a popular book fantasy series I'd say that's where we should look to glimpse what kind of shape the series will take. 
 
To me the greatest potential for the HP series is in what will happen between plot-points and revelations. Show us the life of a Hogwarts student, do as Rowling did in the novels and make us want to live there. Hogwarts should absolutely be the other main character in all the episodes, with all its mystery and warmth and whimsy. My fear is that modern franchise trends lean so heavily towards the plot-heavy Marvel/DC models that we'll end up getting a Yates-looking production with quippy meta dialogue. The only thing not making that an outright assumption is the fact it's on HBO - and given their largely authentic approach to popular IP like GOT and The Last of Us we could be in for something really special.
 
 
 
I've said this a million times and it bears repeating; the Potter books are very entertaining whodunnits first and fantasy stories second. The reason the spinoffs didn't work is because they focused too much on the world-building/fantasy elements and not a coherent mystery with compelling characters. The contrast is even more stark when you read her ongoing Strike detective novels; they're enjoyable page-turners, infinitely more appealing than her screenplays, and that's because they play to her strengths. 

Francesca Gardiner was a producer on Succession, not a writer, which is an important distinction I think. Her prior writing includes His Dark Materials; I haven't watched that or read the books it's based on, but seeing as it's a generally well-received adaptation of a popular book fantasy series I'd say that's where we should look to glimpse what kind of shape the series will take. 
 
To me the greatest potential for the HP series is in what will happen between plot-points and revelations. Show us the life of a Hogwarts student, do as Rowling did in the novels and make us want to live there. Hogwarts should absolutely be the other main character in all the episodes, with all its mystery and warmth and whimsy. My fear is that modern franchise trends lean so heavily towards the plot-heavy Marvel/DC models that we'll end up getting a Yates-looking production with quippy meta dialogue. The only thing not making that an outright assumption is the fact it's on HBO - and given their largely authentic approach to popular IP like GOT and The Last of Us we could be in for something really special.
 
 
 
I've said this a million times and it bears repeating; the Potter books are very entertaining whodunnits first and fantasy stories second. The reason the spinoffs didn't work is because they focused too much on the world-building/fantasy elements and not a coherent mystery with compelling characters. The contrast is even more stark when you read her ongoing Strike detective novels; they're enjoyable page-turners, infinitely more appealing than her screenplays, and that's because they play to her strengths. 

I thought the dialogue was decent during that scene myself. Propped up by the acting perhaps, but not soapy.

I recommend watching a recap. I've read the various versions of the story a couple of times and I still needed it before heading into S2.
 
 
I think it depends where you look. I've seen more than a few people shift their view on the show to a more positive light particularly after the first two eps of this season. I'm of the view that HOTD is fast approaching the quality and consistency of GOT in its prime (seasons 3-4) but with the budget of its latter seasons. It may not ever reach the popular highs of GOT but it's still being talked about, which is an achievement in itself given how sour people got after that show ended.

I recommend watching a recap. I've read the various versions of the story a couple of times and I still needed it before heading into S2.
 
 
I think it depends where you look. I've seen more than a few people shift their view on the show to a more positive light particularly after the first two eps of this season. I'm of the view that HOTD is fast approaching the quality and consistency of GOT in its prime (seasons 3-4) but with the budget of its latter seasons. It may not ever reach the popular highs of GOT but it's still being talked about, which is an achievement in itself given how sour people got after that show ended.

Francesca Gardiner was a producer on Succession, not a writer, which is an important distinction I think. Her prior writing includes His Dark Materials; I haven't watched that or read the books it's based on, but seeing as it's a generally well-received adaptation of a popular book fantasy series I'd say that's where we should look to glimpse what kind of shape the series will take. 
 
To me the greatest potential for the HP series is in what will happen between plot-points and revelations. Show us the life of a Hogwarts student, do as Rowling did in the novels and make us want to live there. Hogwarts should absolutely be the other main character in all the episodes, with all its mystery and warmth and whimsy. My fear is that modern franchise trends lean so heavily towards the plot-heavy Marvel/DC models that we'll end up getting a Yates-looking production with quippy meta dialogue. The only thing not making that an outright assumption is the fact it's on HBO - and given their largely authentic approach to popular IP like GOT and The Last of Us we could be in for something really special.
 
 
 
I've said this a million times and it bears repeating; the Potter books are very entertaining whodunnits first and fantasy stories second. The reason the spinoffs didn't work is because they focused too much on the world-building/fantasy elements and not a coherent mystery with compelling characters. The contrast is even more stark when you read her ongoing Strike detective novels; they're enjoyable page-turners, infinitely more appealing than her screenplays, and that's because they play to her strengths. 

Francesca Gardiner was a producer on Succession, not a writer, which is an important distinction I think. Her prior writing includes His Dark Materials; I haven't watched that or read the books it's based on, but seeing as it's a generally well-received adaptation of a popular book fantasy series I'd say that's where we should look to glimpse what kind of shape the series will take. 
 
To me the greatest potential for the HP series is in what will happen between plot-points and revelations. Show us the life of a Hogwarts student, do as Rowling did in the novels and make us want to live there. Hogwarts should absolutely be the other main character in all the episodes, with all its mystery and warmth and whimsy. My fear is that modern franchise trends lean so heavily towards the plot-heavy Marvel/DC models that we'll end up getting a Yates-looking production with quippy meta dialogue. The only thing not making that an outright assumption is the fact it's on HBO - and given their largely authentic approach to popular IP like GOT and The Last of Us we could be in for something really special.
 
 
 
I've said this a million times and it bears repeating; the Potter books are very entertaining whodunnits first and fantasy stories second. The reason the spinoffs didn't work is because they focused too much on the world-building/fantasy elements and not a coherent mystery with compelling characters. The contrast is even more stark when you read her ongoing Strike detective novels; they're enjoyable page-turners, infinitely more appealing than her screenplays, and that's because they play to her strengths. 

Francesca Gardiner was a producer on Succession, not a writer, which is an important distinction I think. Her prior writing includes His Dark Materials; I haven't watched that or read the books it's based on, but seeing as it's a generally well-received adaptation of a popular book fantasy series I'd say that's where we should look to glimpse what kind of shape the series will take. 
 
To me the greatest potential for the HP series is in what will happen between plot-points and revelations. Show us the life of a Hogwarts student, do as Rowling did in the novels and make us want to live there. Hogwarts should absolutely be the other main character in all the episodes, with all its mystery and warmth and whimsy. My fear is that modern franchise trends lean so heavily towards the plot-heavy Marvel/DC models that we'll end up getting a Yates-looking production with quippy meta dialogue. The only thing not making that an outright assumption is the fact it's on HBO - and given their largely authentic approach to popular IP like GOT and The Last of Us we could be in for something really special.
 
 
 
I've said this a million times and it bears repeating; the Potter books are very entertaining whodunnits first and fantasy stories second. The reason the spinoffs didn't work is because they focused too much on the world-building/fantasy elements and not a coherent mystery with compelling characters. The contrast is even more stark when you read her ongoing Strike detective novels; they're enjoyable page-turners, infinitely more appealing than her screenplays, and that's because they play to her strengths. 

I feel the same way about virtually all of the Wizarding World as portrayed in the films post PoA. Instead of absurdist, magical, interesting architecture we just get... retro real-world buildings. The Ministry of Magic is deliberately modelled after the London and Moscow undergrounds and it shows - on one hand I see how suggesting a time and place can be effective visual storytelling, but it also contradicts the social structure of the magical society as it's portrayed in the books. The buildings are supposed to be weird - most witches and wizards look down on Muggles (whether that's affectionately or sinisterly) so it doesn't make much sense that their aesthetic is virtually the same. It's the same with the clothing/robes - they're supposed to be flamboyant but in the films they're either nonexistent or just lightly tailored suits/variations on Muggle fashion.
 
Don't get me started on the portrayal of actual magic/spells. As @Holko pointed out everything's strangely mechanical and logical when it should be bizarre and absurd. We never see any interesting spells or charms, especially from GoF onwards - it's all just generic jets of light, shields and explosions. Yates is squarely responsible IMO, for going with the "realistic, grounded and gritty" aesthetic that dominates the franchise. I hope the show goes to someone with vision and flair, someone weird - imagine Terry Gilliam (who Rowling originally wanted to direct) producing this show, it would be amazing!

I’m looking forward to this show and hope for its sake that author J.K. Rowling will take a step back publicly and not be heavily involved with it. She already got to have a heavy influence in the previous screen adaptations and I think the best justification for this new series is to have a fresh take and interpretation of her story. I enjoyed her books immensely, but can’t wait to see what a new writing team will do with the source material to improve upon it (as Game of Thrones, in the early seasons at least, often was able to improve on certain elements of the books). I'm excited to see who will be cast and follow more news going forward.
 
Yavar

Djawadi's scoring continues to be elevated further for this series. The music during the opening stretch of the the latest ep, and over the funeral scene, is very very good. I love the use of extended techniques on the strings, so textural, eerie and upsetting. He's built on the success of cues like "Light of the Seven" and injected some shades of The Green Knight, it works really well.

Djawadi's scoring continues to be elevated further for this series. The music during the opening stretch of the the latest ep, and over the funeral scene, is very very good. I love the use of extended techniques on the strings, so textural, eerie and upsetting. He's built on the success of cues like "Light of the Seven" and injected some shades of The Green Knight, it works really well.

Djawadi's scoring continues to be elevated further for this series. The music during the opening stretch of the the latest ep, and over the funeral scene, is very very good. I love the use of extended techniques on the strings, so textural, eerie and upsetting. He's built on the success of cues like "Light of the Seven" and injected some shades of The Green Knight, it works really well.

Djawadi's scoring continues to be elevated further for this series. The music during the opening stretch of the the latest ep, and over the funeral scene, is very very good. I love the use of extended techniques on the strings, so textural, eerie and upsetting. He's built on the success of cues like "Light of the Seven" and injected some shades of The Green Knight, it works really well.

Funeral scene, Daemon & Rhaenyra argument, Otto, Criston & Ageon talk & twins fighting.... 🤌🏽🤌🏽🤌🏽
 
Thought this was fantastic. Very well written dialogue, performances were great and the directing also outstanding.
 
And man do I loathe Criston Cole. He is one of the most annoying characters ever. I didn't think it was possible for the show to make me hate him more, but he even made me feel bad for Otto. Otto is a prick but is doing things sort of with the right mindset and still has heart.
Cole is just a petty man and is just unable to own up to his mistakes. Instead he just keeps making more and is only sending more & more people to their graves.
Already awaiting for justice to be d9ne at some point.

I know what the version from the book is and I liked what they did here. It was still gruesome and horrific, but just slightly different.
 
I kinda feel that the people demanding exactly the same thing maybe need to look inward a bit. What happens is horrific either way and to see people demanding we actually see children get threated and cut in pieces is sick.
 
I think they went with a strong and suitable version for the show that this is.

It's great that nobody in here is focusing on the change from the books for Blood and Cheese. Some people have fixated on it too much but it's clear from reading this thread that people were suitably horrified by what was actually in the show. 

I know Cameron and he's a wonderful young man, highly driven and with a lot of talent and a bright career ahead of him. I'll echo what others have said and say that the most exciting thing about his music is where it will take him next as he develops his own style. Not many people can emulate Williams with such precision, and certainly not at his age, so he can only go up from here. 
 
Thankfully the posts here are somewhat civil so far, but please keep in mind that he's a young person and a human being. Despite peoples' thoughts on the whole "next John Williams" thing he didn't draw that comparison himself.
 
Can't wait to see what he does next. The fact he worked on Nope is a sign that he's working with good people and well on his way to success.
 

Oooft that ending made me queasy. The foley artists didn't have to go that hard, that was brutal. Poor Helaena, probably one of the most tragic characters in the ASOIAF mythology, not least because she knew something bad was coming from her dreams/prophecies but couldn't do anything about it.
 
 
I have to say, I'm quite happy to see the back of Sapochnik if the rumours around his ego and stubbornness are to be believed. The night-time sequence are now lit in a way that make them actually watchable now, and I'm so glad that Condal et al have responded to that very valid criticism. And we no longer have the bizarre nepo-casting of his wife (Allicent's handmaiden) who he tried to shoehorn into every court scene in season 1. The fact she was unceremoniously killed off-screen is even more amusing.
 
Also, they changed the opening credits, thank GOD! I hated the blood/Old Valyria one from last time, it was incoherent and, frankly, boring. The new tapestry is oozing with mythology and does a far better job contextualising the characters and story.