George R.R. Martin recently saw several of the upcoming Game of Thrones animated spinoffs and compared them to Love Death and Robots.
George R.R. Martin recently gave some comments to The Hollywood Reporter about where the Game of Thrones universe he created is heading. He talked about the upcoming show The House of the Dragon as well as some upcoming animated spinoffs he got to see.
The THR piece says that there are three or four animated projects in the works and that Martin was impressed with the early concept art. He even went on to compare them to Netflix’s Love Death + Robots which, as fans of the show know, could mean many different things. LDR is an anthology series that gives creators room to tell stories as long as they can somehow connect to one of the three themes of the title, and given its nature, it’s a show that has spawned many different styles of animation.
Martin could be saying that the GOT animations are comparable to the very best of what LDR animation has to offer, he could be saying that the shows showcase many different varieties of animation, or he could be referencing a specific episode of LDR that he saw. Martin has yet to clarify what he specifically meant when referring to LDR but the essence of what he said is that he has high praise for the animations.
In this passage from the THR article the live-action spinoffs were first discussed before Martin talked about his thoughts on the animated shows coming down the pipeline.
“And more than just Dragon likely rides on the show’s performance. HBO has four live-action Thrones shows in development — including its first proposed sequel, a Jon Snow spinoff starring Kit Harington, along with a Dunk and Egg series (Martin’s early pitch was eventually put into development under writer Steve Conrad) and a show focused on The Sea Snake’s nine voyages from writer Bruno Heller (which, if greenlit, would cast a younger actor than the 57-year-old Toussaint). There are also three animated projects — possibly four — in the works.”
““The animated shows are coming along great,” enthuses Martin, who compares the various animated styles to Netflix’s acclaimed Love Death + Robots. “The concept art is absolutely stunning.””
In partnership with Grill Mates and Stubb's BBQ Sauce.
There’s something unmistakably raw about William Crighton. It’s there in his voice—deep, cracked, like bark peeling from a eucalypt—and in the stories he tells, steeped in red dirt, rolling hills, and river ghosts. But beyond the music, there’s another side to Crighton that’s just as grounded in the Australian bush: cooking.
To him, the fire pit and the fretboard aren’t all that different. “I approach music similar to how I approach cooking ,” he says, “which is, I don't know too much, and going back to that childhood curiosity and wonder.”
Bush Songs and Backyard Smoke
Crighton’s music is often shaped by time spent in nature—walking through scrubland, sitting by creeks, or staring into campfire flames. His songs are rooted in place, and so is his food. He’s not about complicated recipes or kitchen gadgets; his ideal cooking set-up is a cast iron grill over coals, a sharp knife, and the open sky.
“There’s something about the bush that strips things back to what matters,” he says. “It’s the same with cooking. When you’re out there, it’s just you, the fire, and whatever you’ve got on hand. That’s where the magic is.”
And while Crighton’s approach is humble, it’s far from bland. A believer in bold, honest flavour, he’s quick to call out two essentials in his campfire toolkit: Grill Mates seasoning and Stubb’s BBQ Sauce.
“I’m not a chef, but I know what tastes good,” he laughs. “Grill Mates have that smoky hit that just works with anything—lamb chops, kangaroo, even a grilled zucchini. And Stubb’s? That stuff’s got soul.”
Smoke and Soul
For Crighton, cooking is more than just survival—it’s ceremony. Whether he’s on tour or out bush with his family, there’s a rhythm to it. Gather wood. Light the fire. Let it burn down. Season the meat. Cook it slow. Sit, talk, eat, listen. It’s the same process as writing a song, he says. “You don’t rush it. You let it build. You taste as you go.”
That sense of time, patience, and presence defines both his music and his meals. There’s no room for distractions when you're working with fire and feeling your way through a song. It’s tactile. Sensory. Honest.
“A little bit of not knowing, that's where the best s*** comes,” he says. “Too much heat, too much spice, too many words—it’ll burn out or fall flat. But when you hit it just right? It’s unforgettable.”
Music, Meat, and Meaning
Ask Crighton about the perfect cook-up, and he won’t talk about sous-vide machines or reverse searing. He’ll talk about standing barefoot in the dust, his guitar nearby, kids running around, a bit of Stubb’s soaking into a thick ribeye as the sun drops low.
It’s not just about what’s on the plate—it’s who you’re sharing it with, what the day’s been like, what you’re listening to Will tells us. "Food and music are both about creating a moment. That’s the stuff people remember.”
As his songs continue to resonate around the world, from the stages of Nashville to the paddocks of New South Wales, William Crighton remains committed to that core philosophy: stay grounded, keep it simple, and always cook with heart.
Because whether he’s crafting a haunting verse or searing a steak, Crighton knows—the good stuff happens when you let the fire do its thing.
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In Partnership with Cancer Council Victoria
When you’re an artist as prolific and hard-working as Tori Forsyth, summer doesn’t exactly spell relaxation. The singer-songwriter – who makes music that calls to mind everyone from Lucinda Williams to her friend and mentor Kasey Chambers – dropped her new album, All We Have Is Who We Are, in May. A rhythmic and anthemic collection of country bangers, it was Forsyth’s third, and came hot on the heels of a major success when she was nominated for the Q Music Award in the early part of the year. In a way, All We Have Is Who We Are marked something of a return to form for the musician – country-western in both style and spirit, it saw the musician dipping back into the style that made her famous. Forsyth has only one word to describe the album: she calls it an “exhale," a cathartic collection of songs about emerging back into the sun after hardship.Forsyth herself is yet to take an "exhale," mind you. She’s barely slowed her output since its release – a creative polymath, she describes herself as someone who draws energy from dabbling in a multitude of different formats. “At the moment I'm working on a music/creative podcast,” Forsyth says of her busy post-release period. “And I'm still doing touring stints to celebrate the release of All We Have Is Who We Are.”But you’ve got to take a pause eventually, and Forsyth is looking to settle into the sunnier days with “lots of family time," and a little time off the touring track. “I want to try to go to the beach a little more this year and just have a general re-grouping after a huge year with the record release,” Forsyth says. Not that it’s necessarily all play, no work. “Of course, it's Tamworth Country Music Festival in January – I'll be heading there for my show,” she says.Indeed, Tamworth is Forsyth’s spiritual home. She’s performed at the outdoor festival countless times, amassing a legion of fans with her powerful and rousing voice – the festival was even the first outdoor gig she ever attended. “Tamworth festival is such a big one and I have probably played it more than any other festival,” Forsyth explains. “It's hot and everyone is sweaty but it's great to see everyone and start the year off like that.”Forsyth loves playing outdoor festivals due to their “fresh air, atmosphere and sunshine.” But she understands that the heat and the exposure to the sun come with its own risks. There is, after all, very little shelter from the glare when you’re up onstage, and Forsyth has sensible – and stylish – protective measures in place to keep herself sun-safe.Indeed, Forsyth’s tried and true method of looking after her body is a novel adaptation of the “slap” element of slip, slop, slap, seek and slide. “For the past year I have played nearly every show with a giant cowboy hat – highly recommended for sun safety. Wearing sunscreen is handy in Australia all year round, particularly living in QLD.”So, next time you hit the outdoors, remember to take Forsyth’s advice, and invest yourself in one fine ten-gallon. Sun safety can be country appropriate after all. If you or someone you know has cancer, get free confidential support from a cancer nurse, call 13 11 20." 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The musician has spent the last few years low-key releasing a string of albums, dropping her debut Heavy Metal Flower Petal back in 2022, and then following it up with this year’s Dirt. Both records have a faint glow, one familiar to the songs that come up in your suggested songs on Spotify when you listen to Chappell Roan.But still, despite that somewhat glow, Starr “wasn’t genetically built” for summer. “I hate playing in summer, if I'm honest,” Starr explains.”I'm extremely translucent and white with freckles, so it's always a struggle in the heat."I grew up on the mid-north coast of Australia with a surfy family by the beach, so it's been a constant battle throughout my life to try and avoid the sun while ending up in really sunny situations. Being a musician on the festival circuit is one of those situations.”So it goes. “I've learned to lean into it,” she says. “Sometimes it can inspire an outfit—a giant hat, a veil, and a quick exit from the stage. Where there is a problem, creativity thrives!”As to her plans for this forthcoming summer, Starr is looking forward to changing gears. The process of writing and releasing Dirt was “all-consuming."She describes the record as “connected to the past," and refuses the idea it’s connected to nostalgia. “Unlike nostalgia, I wanted to explore being connected to heritage and understanding the sources of inspiration and symbolism we draw from to build on our collective narrative. The downside of social media is that we are losing reference to where things come from. We are losing deeper meaning.”But now that Dirt is done, Starr’s gaze has changed direction again. “My number one tip would be not to worry about what everyone else is doing and work with what you've got,” she says. “I had horrible experiences growing up, with people negging me to get a tan and wear more revealing clothing, but I never felt comfortable doing that and and that developed my grandma style which I love. I found my way of doing things.”Like her music career, sun safety is something that Starr does on her own terms, which makes for an idiosyncratic journey. “I enjoy the shade, chilling under trees, wearing oversized clothing, applying my mineral sunscreen, and carrying a giant parasol like I'm from the 18th century,” Starr says.If you or someone you know has cancer, get free confidential support from a cancer nurse, call 13 11 20. 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In partnership with Grill Mates and Stubb's BBQ Sauce.
There’s something unmistakably raw about William Crighton. It’s there in his voice—deep, cracked, like bark peeling from a eucalypt—and in the stories he tells, steeped in red dirt, rolling hills, and river ghosts. But beyond the music, there’s another side to Crighton that’s just as grounded in the Australian bush: cooking.
To him, the fire pit and the fretboard aren’t all that different. “I approach music similar to how I approach cooking ,” he says, “which is, I don't know too much, and going back to that childhood curiosity and wonder.”
Bush Songs and Backyard Smoke
Crighton’s music is often shaped by time spent in nature—walking through scrubland, sitting by creeks, or staring into campfire flames. His songs are rooted in place, and so is his food. He’s not about complicated recipes or kitchen gadgets; his ideal cooking set-up is a cast iron grill over coals, a sharp knife, and the open sky.
“There’s something about the bush that strips things back to what matters,” he says. “It’s the same with cooking. When you’re out there, it’s just you, the fire, and whatever you’ve got on hand. That’s where the magic is.”
And while Crighton’s approach is humble, it’s far from bland. A believer in bold, honest flavour, he’s quick to call out two essentials in his campfire toolkit: Grill Mates seasoning and Stubb’s BBQ Sauce.
“I’m not a chef, but I know what tastes good,” he laughs. “Grill Mates have that smoky hit that just works with anything—lamb chops, kangaroo, even a grilled zucchini. And Stubb’s? That stuff’s got soul.”
Smoke and Soul
For Crighton, cooking is more than just survival—it’s ceremony. Whether he’s on tour or out bush with his family, there’s a rhythm to it. Gather wood. Light the fire. Let it burn down. Season the meat. Cook it slow. Sit, talk, eat, listen. It’s the same process as writing a song, he says. “You don’t rush it. You let it build. You taste as you go.”
That sense of time, patience, and presence defines both his music and his meals. There’s no room for distractions when you're working with fire and feeling your way through a song. It’s tactile. Sensory. Honest.
“A little bit of not knowing, that's where the best s*** comes,” he says. “Too much heat, too much spice, too many words—it’ll burn out or fall flat. But when you hit it just right? It’s unforgettable.”
Music, Meat, and Meaning
Ask Crighton about the perfect cook-up, and he won’t talk about sous-vide machines or reverse searing. He’ll talk about standing barefoot in the dust, his guitar nearby, kids running around, a bit of Stubb’s soaking into a thick ribeye as the sun drops low.
It’s not just about what’s on the plate—it’s who you’re sharing it with, what the day’s been like, what you’re listening to Will tells us. "Food and music are both about creating a moment. That’s the stuff people remember.”
As his songs continue to resonate around the world, from the stages of Nashville to the paddocks of New South Wales, William Crighton remains committed to that core philosophy: stay grounded, keep it simple, and always cook with heart.
Because whether he’s crafting a haunting verse or searing a steak, Crighton knows—the good stuff happens when you let the fire do its thing.
She describes the record as “connected to the past," and refuses the idea it’s connected to nostalgia. “Unlike nostalgia, I wanted to explore being connected to heritage and understanding the sources of inspiration and symbolism we draw from to build on our collective narrative. The downside of social media is that we are losing reference to where things come from. We are losing deeper meaning.”But now that Dirt is done, Starr’s gaze has changed direction again. “My number one tip would be not to worry about what everyone else is doing and work with what you've got,” she says. “I had horrible experiences growing up, with people negging me to get a tan and wear more revealing clothing, but I never felt comfortable doing that and and that developed my grandma style which I love. I found my way of doing things.”Like her music career, sun safety is something that Starr does on her own terms, which makes for an idiosyncratic journey. “I enjoy the shade, chilling under trees, wearing oversized clothing, applying my mineral sunscreen, and carrying a giant parasol like I'm from the 18th century,” Starr says.If you or someone you know has cancer, get free confidential support from a cancer nurse, call 13 11 20. " ["post_title"]=> string(45) "Phebe Starr on the Importance of Staying Cool" ["post_excerpt"]=> string(0) "" ["post_status"]=> string(7) "publish" ["comment_status"]=> string(6) "closed" ["ping_status"]=> string(6) "closed" ["post_password"]=> string(0) "" ["post_name"]=> string(45) "phebe-starr-on-the-importance-of-staying-cool" ["to_ping"]=> string(0) "" ["pinged"]=> string(0) "" ["post_modified"]=> string(19) "2024-09-05 15:19:50" ["post_modified_gmt"]=> string(19) "2024-09-05 05:19:50" ["post_content_filtered"]=> string(0) "" ["post_parent"]=> int(0) ["guid"]=> string(29) "https://thebrag.com/?p=883806" ["menu_order"]=> int(0) ["post_type"]=> string(4) "post" ["post_mime_type"]=> string(0) "" ["comment_count"]=> string(1) "0" ["filter"]=> string(3) "raw" } } ["post_count"]=> int(3) ["current_post"]=> int(-1) ["before_loop"]=> bool(false) ["in_the_loop"]=> bool(false) ["post"]=> object(WP_Post)#12634 (24) { ["ID"]=> int(884490) ["post_author"]=> string(6) "532475" ["post_date"]=> string(19) "2025-04-30 14:20:04" ["post_date_gmt"]=> string(19) "2025-04-30 04:20:04" ["post_content"]=> string(4899) "