Le Cygne

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About Le Cygne

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  1. Interesting interview, GRRM is talking about what he means by ice and fire, he's talking about storylines: This dynastic war is one of the three main plotlines, there's another plotline involving the Others, these kind of superhuman characters, and then there's the exiled Targaryen daughter, who seeks the return or her ancient throne. Why those three main plotlines? Well of course the two outlying [main plotlines], the things that are going on north of the Wall, and Danerys Targaryen on the other continent with her dragons, are of course the ice and fire of the title, A Song of Ice and Fire. The central stuff, the stuff that's happening in the middle, in Kings Landing, the capital of the seven kingdoms, is much more based on historical events, historical fiction, it's loosely drawn from the War of the Roses and other conflicts around the 100 years war, although with a fantasy twist. One of the dynamics I started with was people being so consumed with their petty struggles for power within the seven kingdoms... that they are blind to the much greater and more dangerous threats that are happening far away, on the periphery of their kingdoms.
  2. Perfect! And that could go back a couple of seasons, too. And that could be done for a lot of characters!
  3. I did like the way NCW said "Fuck loyalty?" like this does not compute! He's a funny guy. That was a big waste, not letting Jaime be his snarky self on the show all this time.
  4. And this is a lack of consistency within the show itself, one of the earliest scenes was Ned executing a night's watch deserter, who had a very compelling reason for running away. That Jon deserted the night's watch is something that should have come up again and again, even if they want it dismissed rather than write a good story that addresses everything properly. The writing is just so sloppy.
  5. Yeah, they sure aren't ones for tying up loose ends... deserter used to mean something, even on the show.
  6. Some comments on Preston Jacobs' episode 7 video: Did Sandra and Wolverine just violate guest right? After that mummer's farce of a trial (in which the Stark didn't even swing the sword) shouldn't there be a downfall of house Stark (or Sansa) a lá Frey? After all, unlike the Freys, the Starks even believe in the Old Gods (and have heard of the Rat Cook) or did Littlefinger not eat or drink the entire time he was in the North. Another... Why didn't the Hound simply let the wight kill Cersei ? Ser Robert Strong, Euron Greyjoy and Ser Jamie Lannister were caught unprepared and couldn't have defended Cersei in time. This would have ended the war since Jamie would have inherited the command of the Lannister forces and he had no appetite to fight dragons. Another... I know this will never be brought up in the show but, isn't Sam still in the Nights Watch? Jon sent him south to be the new maester for castle black. Doesn't he still have vows he needs to uphold for his brothers? I'm sure they can still use his help even if he is not a maester. One can only assume Sam got an annulment.
  7. Yes, that broke every rule of good storytelling. And that bad storytelling started long before that, season 7 had no lock on absurd plots, and the LF absurdity started back in season 5. They've been doing don't take out Cersei go on a wight hunt instead level absurdity for a while now. LF should have been dead at the beginning of season 6. Bronze Yohn knows LF said he was taking Sandra to the Fingers, so LF lied to the Lord of the Vale twice, and Brienne knows what LF did, he tried to kill her along the way to Winterfell, and she watched it all take place, as did the Vale troops. So Jon would have had LF executed for selling his sister to the Boltons, which she told the King of the North he did in those exact words, and no one would think Sandra chose to marry a Bolton, since only a moron would have done that. LF should have been dead long ago. They also completely dropped LF's involvement in Joffrey's death, and that he framed Sandra: LF: You don't want the queen to hear, do you? The gold cloaks are searching for you. And if they found you, how do you think they would punish the girl who murdered the king? Sansa: I didn't murder anyone. LF: I know. I know. But you must admit it looks suspicious. The king who executed your father, who tormented you for years, and you fled the scene of his murder... Sansa: Did you kill Joffrey? LF: Did I kill Joffrey? I've been in the Vale for weeks. Sansa: I know it was you. LF: And who helped me with this conspiracy? Sansa: Well, there was Ser Dontos. You used him to get me out of King's Landing, but you would never trust him to kill the king. LF: He wasn't involved in Joffrey's death. But you were. Do you remember that lovely necklace Dontos gave you? I don't suppose you noticed that a stone was missing after the feast. Sansa: I don't believe you. If they catch you, they'll put your head on a spike just like my father's. Also that brings us to... where's the visual bookend of seeing LF's head on a spike. Surely that's not too gory for Sandra, who smirks as men are fed to dogs, or Arya, who bakes men in a pie. They don't even follow up on their own story.
  8. Once again, Game of Thrones is the bad example. Adds another veteran female writer, “For male showrunners, sexual assault is always the go-to when looking for ‘traumatic backstory’ for a female character. You can be sure it will be brought up immediately, like it’s the obvious place to go when fleshing out a female character.” Underlying the idea of rape as a go-to concept is the idea that the fallout from the incident will inform the character “forever,” this writer adds. “You can use it as a reason for anything she might do,” the writer notes. “She’s ‘damaged goods,’ physically, emotionally and mentally, and I think that is a bad, bad message to send to women who have been sexually assaulted.” ... “For a long time, incest and rape were go-to story points, and I don’t think they’re edgy, they’re just gross,” says Michael Green, executive producer and co-showrunner of “American Gods.” “The disposability of it as a plot point is not anything I can engage in. For me, there’s no quicker way to get me to turn off a story. I’m just done.” Bryan Fuller is done, too. Fuller, executive producer and co-showrunner of “American Gods,” went so far as to issue an edict to the writers of his previous show, NBC’s “Hannibal”: No sexual violence. “I personally think that it stains a story, in a way, in that it prevents you from being able to celebrate different aspects of sexuality,” Fuller says. “America as a country has a very fucked-up attitude regarding sex and sexuality, so there is something [troubling] about the punishing of characters for their sex and sexuality.” https://variety.com/2016/tv/features/rape-tv-television-sweet-vicious-jessica-jones-game-of-thrones-1201934910/
  9. The criticism (and there's a tidal wave now, but it's been building all along) addresses the decline over several seasons. (For example, these criticisms were widespread.)
  10. Another video by the same guy, it says it's about Game of Thrones, but he's talking exclusively about GRRM, and using examples from the books. It's about empathy, and the example of Jaime is particularly sad, because we had that empathy for him that GRRM talks about in the video, and then the show turned him into Larry, who is driven by absurd plots. Like he said in the later video, that's a problem with the show now, without that, the viewer stops caring about the characters.
  11. That was good! And "characters are forced to act in ways that contradict who they are in order to manufacture temporary conflict" (oh, hello Sansa and Jaime) - that's the worst, the betrayal of the characters. He picked some really good moments to illustrate his points. And I like when he brought up Breaking Bad, a really good show, and it was like, let's get real, Game of Thrones isn't even in the same league.
  12. Agreed, season 5 was the beginning of the end, when it was no longer even remotely ASOIAF, they killed the last vestiges of the spirit of the books. GRRM refers to the butterfly effect but they never cared enough for that, to try to keep things consistent with changes they had made. They just changed things randomly because "creatively it made sense to us, because we wanted it to happen." And the characters started to become their own mouthpieces, saying and doing what they would do. They haven't been telling a real story for a long time.
  13. @Dolorous Gabe posted this on another thread... The Titanic! Here's a transcript: The seams started to tear the moment the show ran out of books to adapt, and they burst wide open during the seventh season... Since the season finale I probably read 20 articles about the declining quality of the show's writing and the problems listed are all the same. The rampant plot holes, the ridiculously accelerated pacing, the whiplash from characters teleporting from one place on the map to another, and the obviously nonsensical plans the characters come up with, or rather that the writers force them to come up with, just so we can squeeze some more dragon-fueled spectacle to the mix. But those problems just scratch the surface. The two biggest issues are as one, I see it character consistency and two, a lack of consequences. Characters... have become shells of their former selves... Characters... are forced to act in ways that contradict who they are in order to manufacture temporary conflict. Characters were written into impossible situations but managed to escape scot-free without growing or changing... But there's no anger here to feel cathartic about, no passion here for me to vent, only the pain of falling out of love with a story... Empathy for these characters... makes us emotionally invested in what happens to them. And in watching a show go awry it makes me appreciate just how powerful a force empathy is... The problems are widespread now, and they are eroding the empathy we have for the characters. For so long we have been watching and analyzing the show, because it promised to be something different. At the end of the road there would be some sort of transcendent experience that would give us the only thing we ever look for in stories, meaning. Game of Thrones promised to be meaningful... The pain of falling out of love with a show isn't that you hate it, it's that you become ambivalent about it. It's the awareness that you're just not feeling as excited or scared or joyful as the story wants you to be... And yet we go on watching out of some sense of obligation, bonded by the empathy it hooked us with in the beginning, blinding us to the faults along the way, because we are going somewhere, right? There has to be some more meaning left, right? The show is, quite literally, fan fiction, but it never felt so much like fan fiction as this season...
  14. You’re not alone in thinking that Game of Thrones — with its accelerated timeline, undead TED talk, and Cersei’s curious lack of hair growth — is simply not as good as it once was. Yes, there’s an ice dragon, but whatever happened to a season where the Stark sisters had discernible character motivations? The creators of Rick and Morty know your gripes, and appropriately eulogized them after this week’s episode. In a post-post-credits sequence, the show ran a title card mourning “The writing on Game of Thrones: 2011–2016.” Logan Lucky already gave us one exceedingly clever Game of Thrones jokes, and now Rick and Morty has delivered the cynic’s take. THIS FADED IN AT THE END OF RICK AND MORTY AND I AM LOSING MY GD MIND. BEYOND SAVAGE. #GameOfThrones pic.twitter.com/DQ4SyvH3MD — Nik (@nhimak) August 28, 2017 http://www.vulture.com/2017/08/rick-and-morty-game-of-thrones-post-credits-scene.html
  15. There are so many contradictory quotes about the books and show...