Do you like to look at toys and artwork you'll probably never own? Well, you're in luck today! At the first annual Power-Con/ThunderCon this past weekend in Los Angeles, a gallery was set up consisting of both original artwork and highly sought-after collectibles from the Masters of the Universe and ThunderCats properties. We'll not bore you with details of the elaborate plans we hatched in our heads for "liberating" those vintage MOTU figure prototypes, and will instead get right into some photos!

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Tags Action Figures, artwork, Earl Norem, Emiliano Santalucia, Masters of the Universe, mtv, MTV Geek, Power-Con, Thundercats, Thundercon, vintage

MTV Geek and Dynamite Entertainment are pleased to give you your first look at Red Sonja #65 and Queen Sonja #26, hitting stands in December:

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Tags Conan, Dynamite Comics, Dynamite Entertainment, Queen Sonja, Red Sonja

Remember the massive Dark Tower in Lord of the Rings where the Eye of Sauron floated around scanning all of Middle Earth for that precious One Ring? Well, some guy made that thing out of LEGOs and he only had to use an estimated 50,000 bricks!

Kevin Walter is the LEGO madman behind this terrifying creation. It was recently on display at Brickworld 2011 and it stands 5-feet, 9-inches tall! I can’t imagine how long it took him to build this monster, but there’s no doubt Kevin put a lot of time into it. Head past the break to see just how big this thing really is. Read more...

Tags Barad-dûr, Brickworld 2011, LEGO, Lord of the Rings, Middle Earth, Sauron, The Dark Tower, Toys

The following review is from our friends at Westeros.org.  Stay tuned for our podcast review and discussion of episode 9: Baelor later on!

Written by David Benioff & D.B. Weiss

Directed by Alan Taylor

IMDB Synopsis (by HBO Publicity)

Ned (Sean Bean) makes a fateful decision; Robb takes a prized prisoner; Daenerys (Emilia Clarke) finds her reign imperiled.

Analysis

The sole episode submitted by HBO for Emmy consideration in the writing category, “Baelor” delivered the high emotion, strong themes, and great performances that mark an episode very much worth a few awards. We won’t know the result of the Emmy submissions for awhile, but we do know that the show tied two top-flights shows with 4 nominations at the Television Critics Association Awards, and doubtless there’ll be more significant award considerations to come. This episode contains one of the most iconic scenes in the whole of the series, the death of Eddard Stark before a crowd of Kingslanders, brought to this fate despite agreeing to lie for the sake of his daughter. It’s a moment that no one who’s read the novels ever forgets… and it’s one that brought tears to my eyes when I watched it.

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Tags Game of Thrones, HBO, Westeros.org

The following review is from our friends at Westeros.org.  Last week they gave us their review of episode 6, A Golden Crown, and stay tuned for our podcast review and discussion of episode 7 later on!

Written by David Benioff & D.B. Weiss

Directed by Daniel Minahan

IMDB Synopsis (by HBO Publicity)

Explaining that the future of the Lannisters is at stake, Tywin (Charles Dance) presses Jaime to “be the man you were meant to be” as they prepare for battle. Ned confronts Cersei about the secrets that killed Jon Arryn. With the fate of the missing Benjen (Joseph Mawle) very much on his mind, Jon Snow takes his Night’s Watch vows, though not with the assignment he coveted. After Ser Jorah (Iain Glen) saves Daenerys from treachery, an enraged Drogo vows to lead the Dothraki where they’ve never gone before. An injured Robert takes pains to ensure an orderly transition at King’s Landing.

Analysis

“You Win or You Die” is a moment the show has been building to for seven episodes, and it executes it all very smoothly, very well… but perhaps, for the first time, the fact that we know the story so exactly means that some of the shine has been taken off of this moment; but perhaps that’s only us. This is a very solid episode, and there’s some excellent work both from director Daniel Minahan and writers David Benioff and Dan Weiss. Of the new scenes, by far the best for us was Tywin Lannister’s introduction. Charles Dance was the actor we most wanted from the role when Benioff and Weiss asked the forum, early in casting, for suggestions, so it was fantastic to see him in the part. As we say in our preview, he was born to play this part, carrying off the lean, arrogant, incredibly dangerous persona perfectly. Oh, his Tywin his different, as some will tell you—he shows emotion more easily, he goads Jaime, he’s personally skinning a stag (though we doubt Tywin would never have done that; lords hunt in Westeros, and they’d know how to skin animals)—but it serves to underscore the man he is. Tywin is very much George R.R. Martin’s taking Machiavelli’s fictional prince and realizing him on the page. We’re looking forward to more from Dance. A very minor gripe, though: “I could care less” is a very American phrase and one that’s ungrammatical, since what one really wants to say is, “I could not care less”. It was about as jarring to hear as Eddard talking about fighting “for real”. Fortunately, such missteps are rare with these writers.

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Tags Game of Thrones, HBO, Westeros.org

This series of articles takes a close look at George R.R. Martin’s Song of Ice and Fire series from the perspective of a Ph.D. in Medieval history and literature.  Each book in the series will be analyzed against actual historical events in the Dark and Middle Ages along with literature, factual or fictional, from that time.  This is the first time the author is reading the novels, so keep in mind that she’s unaware of major spoilers but that spoilers will be revealed as she progresses through the material.

By Catherine Smith-Akel, Ph.D.

Hē hæfde gōd geþanc
þā hwile þe hē mid handum healdan mihte
bord and brād swurd; bēot hē gelæste
þā hē æforan his frēan feohtan sceolde.

The Battle of Maldon

The Joust

About a third of the way through Game of Thrones, a tournament is held in the Hand’s honor, a tournament that Eddard Stark wanted no part of. The tournament, however, forwards the plot in several ways, but in particular, with the death of the young knight, Hugh of the Vale, and King Robert’s insistence on taking part in the mêlée.

On the second day of the event, Ned Stark points out to Sansa that the knights are fighting with blunted lances that are supposed to splinter on impact. However, he is inwardly reflecting on Hugh’s horrific death the previous day. In England, King Henry II (1154-1189) forbade tournaments. His third son, Geoffrey of Brittany, was trampled to death in a jousting tournament. This actually changed the history of England—it was Geoffrey’s son, Arthur, who was, named by Richard the Lionheart to succeed him (Richard had no legitimate children). Evil King John (remember him from the Robin Hood stories?) had poor Arthur murdered so he, John, could be king; Arthur was about 15 at the time.

On this second day, Ned must also dissuade Robert from taking part in the mêlée. The eunuch Varys points out how easily it would have been for Robert to have been “accidentally” killed. The only king killed in a tournament was King Henry II (1519-1599) of France. He loved jousting tournaments. Similar to what happened to Hugh in Game of Thrones, King Henry’s eye was pierced by a sliver from a broken lance. The sliver of wood went through to his brain; he died about ten days later. His death, too, had an impact on the succession of the French throne.

A mêlée, however, which Robert Baratheon wanted to join, would have been a perfect way for a knight to kill the king “accidentally.” Mêlées were mock re-enactments of battles. Sometimes as many as 100 knights on each side would participate. King Edward III of England (founder of the Order of the Garter) actually challenged the King of France to a mêlée “au outrance,” meaning to the death of those who participated. The knights would not use blunted tips. King Philippe declined. Read more...

Tags Game of Thrones

The following review is from our friends at Westeros.org.  Last week they gave us their review of episode 5, The Wolf And The Lion, and stay tuned for our podcast review and discussion of episode 6 later on!

Written by David Benioff, D.B. Weiss, and Jane Espenson

Directed by Daniel Minahan

IMDB Synopsis (by HBO Publicity)

Reinstated as the Hand, Ned sits for the King while Robert is on a hunt, and issues a decree that could have long-term consequences throughout the Seven Kingdoms. At the Eyrie, Tyrion confesses to his “crimes,” and demands that Lysa give him a trial by combat. Joffrey (Jack Gleeson) apologizes to Sansa; Viserys receives his final payment for Daenerys from Drogo (Jason Momoa).

Analysis

Truth be told, this is our very favorite episode of the six we’ve seen. More than anything, I’d put this down to Daniel Minahan’s direction. It’s true that he makes a lot of use of very quick cuts for actions scenes, something that has become de rigeur in a lot of cinema, and it does obscure the action a little bit… but there’s something about the way he uses it that actually works to justify the quickness; it heightens the sense of chaos and uncertainty, making the violence seem all the more sudden and brutal. On top of that, some of his choices for quieter scenes are incredibly cinematic—the way he shows Bran riding alone in the wood as the wildlings stalk him, the gorgeous lighting of the scene where Joffrey gives his apologies and promises to Sansa—in a way that few other scenes have done before. Of course, how much this will change between the screener and the final, fully-graded and scored episode, we don’t know. But what we saw we really, really liked. Read more...

Tags Game of Thrones, HBO, Westeros.org

The following review is from our friends at Westeros.org.  Last week they gave us their review of episode 4, Cripples, Bastards, and Broken Things, and stay tuned for our podcast review and discussion of episode 5 later on!

Written by David Benioff & D.B. Weiss

Directed by Brian Kirk

IMDB Synopsis (by HBO Publicity)

Incensed over news of Daenerys’ alliance with the Dothrakis, Robert orders a preemptive strike on the Targaryens that drives a wedge in his relationship with Ned. A captive Tyrion helps Catelyn, but receives a cold reception at the Eyrie from her sister, John Arryn’s widow Lysa (Kate Dickie). Sansa is charmed by the dashing Ser Loras Tyrell (Finn Jones), aka the Knight of Flowers. Arya overhears a plot against her father.

Analysis

At the halfway point of the series, “The Wolf and the Lion” is the first episode where the sense that foundation-laying is no longer the priority, and it’s time for the plot to kick into high gear. And it does just that, as Benioff & Weiss, along with director Brian Kirk, let loose. This is a wonderfully paced episode, lingering for long stretches in King’s Landing, which is very much the focus of this episode. The first 8 minutes and the first 14 or so are focused there exclusively, and there are additional long stretches in the course of the rest of the episode. Winterfell is glimpsed briefly twice, and the Vale is definitely the “B” story this time around, but has enough space to feel substantial as it introduces one of the last areas where significant action will take place. In large part, the show can afford this because—as viewers doubtless noticed—they made the decision to leave Jon Snow and Dany out of this episode. It makes a great deal of sense, given that they’ve stayed on-pace (and, especially in Dany’s case, well above pace).

The acting is strong all around, and of particular note are some of the newer faces—Kate Dickie as Lysa is frightening (helped along by that prosthetic breast on display for her son to to suckle at), with Lion Facioli being suitably annoying as Robin (a name change from the books, where he’s named Robert, apparently because of concern from the executive producers or HBO executives that it would be confusing); Jerome Flynn as Bronn (whose name hasn’t actually been given as of yet) is terrific as a scum-of-the-earth type who happens to know his business around killing; and both Gethin Anthony and Finn Jones get to stretch themselves in a unique and intimate scene which ... well, isn’t what some fans expected, to say the least, when we first heard of it! Read more...

Tags Game of Thrones, HBO, Westeros.org

This series of articles takes a close look at George R.R. Martin’s Song of Ice and Fire series from the perspective of a Ph.D. in Medieval history and literature.  Each book in the series will be analyzed against actual historical events in the Dark and Middle Ages along with literature, factual or fictional, from that time.  This is the first time the author is reading the novels, so keep in mind that she’s unaware of major spoilers but that spoilers will be revealed as she progresses through the material.

By Catherine Smith-Akel, Ph.D.

Wea byð wundrum clibbor.

Wolcnu scriðað.

Maxims II

Survival of the Least Fit

George Martin incorporates quite a few characters who are the least fit to survive and yet are central to the story. The three most significant, up to this point in the book, are Lord Tyrion Lannister, Jon Snow, and Bran Stark.

Tyrion is the most obvious, of course, because he is a dwarf--a permanent physical disability from birth unlike Jon Snow and Bran Stark. The parents—who already have healthy twins—might be inclined to expose the abnormal baby to the elements. Infanticide of abnormal and deformed children was not that unusual. The Christian Church forbade infanticide and it was punished (but not by secular authorities, interestingly), but Martin’s story provides no such Christian overtones.

In life and in the literature, dwarfs were treasured creatures. Medieval dwarfs were often endowed with various magical powers. They were also supposed to be excellent craftsmen, particularly in sword-making; such swords made by dwarfs were also endowed with magical powers. The most famous sword said to be made by an elf from Avalon is Excalibur, King Arthur’s sword.

One of the most famous dwarfs in literature comes from the Arthurian legend of Sir Gareth.  In Malory’s The Tale of Sir Gareth, Gareth’s servant-dwarf is the vehicle for Gareth’s various adventures.  The unnamed dwarf also has a comic role in the tale, as he is physically picked up and carried around by another knight and by a lady.

The traditional role of a jester is also an anomaly rather than the norm.  It is true that the nobility liked to have a dwarf at court—they were considered almost as the court “pet”—but dwarfs were hard to come by.  If a noble were lucky enough to have a dwarf, the noble would care well for him.  However, several plates in medieval texts show court jesters as full-grown men.  So, the dwarf jester must have been a more unusual creature.

But the dwarf characteristic of wisdom seems to be the one in which Tyrion excels.   Tyrion prides himself on his mental capability—telling Jon Snow that in order to be a productive member of his family he feels obliged to develop a sharp mind as his brother Jamie has developed a sharp sword.  Tyrion studies books and so develops his wit.  Up to this point in the text, Tyrion removes himself from difficult situations through the clever use of language.  He baits and manipulates, sometimes getting himself into a lot of trouble when he can’t keep his mouth shut—such as in the Eyrie when he winds up asking for a challenge from one of Lady Lysa’s knights in order to obtain his freedom.  Again, he uses his language to get the sellsword, Bronn, to fight for him.  After Tyrion and Bronn are thrown out of the Eyrie—something Tyrion had not thought of in advance—he had to extricate himself from the Stone Crows, the outlaws who want to kill them.  He does so through quick talking and promises the Stone Crows the Vale of Arryn.

Unlike Tyrion, Jon Snow’s “deformity” is cultural—he is the bastard son of Eddard Stark and a yet unnamed mother.  Interestingly, in the book Martin gives bastard children surnames such as Snow or Flower (depending on the region in which they are born).  The surname signifies them as illegitimate, the children of nature. Read more...

Tags Game of Thrones

The following review is from our friends at Westeros.org.  Last week they gave us their review of episode 3, Lord Snow, and stay tuned for our podcast review and discussion of episode 4 later on!

Written by Bryan Cogman

Directed by Brian Kirk

IMDB Synopsis (by HBO Publicity)

Arriving at King's Landing after his long journey, Ned is shocked to learn of the Crown's profligacy from his new advisors. At Castle Black, Jon Snow impresses Tyrion at the expense of greener recruits. Suspicious that the Lannisters had a hand in Bran's fall, Catelyn covertly follows her husband to King's Landing, where she is intercepted by Petyr Baelish, aka "Littlefinger," a shrewd longtime ally and brothel owner. Cersei and Jaime ponder the implications of Bran's recovery; Arya studies swordsmanship. On the road to Vaes Dothrak, Daenerys finds herself at odds with Viserys.

Analysis

Rewatching this episode this week led me to realize something: it's probably the weakest of the six episodes Linda and I have seen. Between King’s Landing and the Wall, we have a dozen new characters introduced (Old Nan—the late, great Margaret John—and Rakharo make an even fourteen). While they file onto the stage, the momentum of the plot largely grinds to a halt. Despite there being fewer chapters being covered than either of the previous episodes (my count places it at about 6 and a quarter chapters), the sense that there's a rush to move from scene to scene seems clearest of all. Some scenes feel too brief, leaving you with a sense of wanting something more. This is not to say it's a bad episode—I don’t believe there's a bad one in the bunch—but it seems like it may be the episode that could be the least satisfying to those who haven’t read the books, who won't get a thrill from seeing Varys, Ser Barristan the Bold, Littlefinger, the Old Bear, and more for the first time. It's a lot to digest.

Of all the characters in this episode, Cersei seems the most changed. When she's speaking with Joffrey, it's an ... interesting scene. Cersei tutors him, and… she seems much cleverer than she was in the books, suffice it to say; some of what she says sounds like they could come from Tywin or Tyrion. This scene, again more than any other, highlights how different she is from the Cersei of the novels.While for dramatic purposes it makes sense, I can't help but think that they're going to have difficulty keeping her narrative in the show along the same path as in the novels, if she's quite so clever as she’s being depicted. A purist part of me sort of wishes this scene was never shown—those 2.5 minutes could have been useful with some of the later scenes.Similarly, when she's with Jaime later on, Linda leapt on the fact that Cersei seem to have been genuinely upset at Jaime for having pushed a 10-year-old boy out the window, and this is a very good point: in the novels, Cersei was upset only because she thought it was precipitous to do, not that it was wrong to do it at all. This casts her earlier conversation with Catelyn in a new light, suggesting she was sincere in her remarks concerning Lady Stark's loss. In other ways, the scene plays very well for us, with a flash of temper from Cersei, and a show of Jaime's intense devotion. Interestingly, the writers again mine the later books when it comes Jaime – his quip about "the War for Cersei's Cunt" is straight out of A Storm of Swords. Read more...

Tags Game of Thrones, HBO