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Cashless Society

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  1. Thanks, now I'll just investigate how these bodies came to the conclusion of these standards. Wasn't The Long Night due to D&D overriding the complaints of Sapochnik, Wagner and the VFX artists?
  2. Does Jace need much pathos at this point in the story? Most of what endears him to most readers occurs after he is sent as an envoy to the North, so I'm guessing the writers made the logical move of having him start out as a peripheral character in season 1, with an increased role in season 2, ending with his death (he's sort of the Robb Stark analogue for HotD). This is also because I see a stronger parallel between him and Aegon, and not Rhaenyra and Aegon. Baela and Rhaena did get the shortest end of the stick, especially Baela who could've spoken to her grandmother about the inheritance of Driftmark and could've been the one who first introduced the idea of a betrothal to Rhaenyra's son. This is usually not a good way to tell the story, as it breaks narrative momentum and cohesion while also making the first season thematically weaker. It would be really weird for some grandparents to be feeling bitter over their cousin claiming a dragon that their parents claimed, given that each of them have claimed their own dragon, and one of them believes that dragons are a power that should have never been trifled with. And all of that happened ages ago. Could you elaborate on this, please. I never noticed anything of the sort and would love to get some perspective.
  3. So this is an OLED problem rather than creative problem? I really don't get why tech reviewers privilege the manufacturers instead of the creators. Some still complained about them in their end of season review. Condal has also said that there will be more humour written into season 2, so I'm a little worried. Agreed. Well, humour is subjective. I get the feeling that most of the people making such complaints don't consider it humour unless it is laugh-out-loud funny.
  4. I've only seen the first episode, I found it to be more interesting than what the first season delivered, even though it has almost the exact same setup as before. I'll continue watching later during the week.
  5. Then there would be an excessive amount of flashbacks and expository dialogue to fill in the gaps with the audience, which puts you in the same position Martin found himself in when writing post ASoS material, you're essentially telling a story that is mostly in flashback which lacks forward momentum. You might as well tell the story linearly in that case. Methinks that there be a wee too much nostalgia goggles and recency bias going on here. This is definitely one of the delightful aspects of the show. I'd like to add that I loved the design and decorations they did for Driftmark that contrasts to King's Landing. And also the grandeur scale of the royal hunt. You can't show dragons on screen too much as it may induce viewer fatigue. One of the worst reactions you can get is in future episodes, viewers aren't impressed with dragons as they've already seen what they are capable of and nothing can impress them anymore. I'm not sure what you're getting at with the last sentence. Most of it actually worked for me, except for the little reconciliation that happens at the family dinner. There's absolutely no way Alicent and Rhaenyra could reconcile so easily on the exact same day Alicent and co made such an overt power move with Vaemond, unbelievable. What the hell are you talking about? There appears to be a minor sort of Apollonian and Dionysian theme going on in the show, with the Hightowers being all about order, structure, reasoning and bound by duty, being aligned with both the faith and the citadel. The Targaryens on the other hand, favour individualism, choas, freedom, adventure, passion, instinct and magic. These are all things Rhaenyra desires and what Daemon embodies, so the attraction makes sense on that end. As for Laena... you'll have to come up with your own head-canon if you want to. Why do you think Rhaenys cares about the smallfolk? She can still support a peaceful resolution to this conflict without the wellbeing of the smallfolk being a factor, because, after all, a war would also be an inconvenience to her. This is an unfortunate consequence of the writers being forced to cover the back story in 1 season rather than the 2 they wanted. Same for Laena, Laenor and Harwin. But why? They aren't going to leave a lasting impression on the audience. Is it though? Technically yeah, but everyone, including the in-universe characters frame this story as The Princess and The Queen, as they play the pivotal role in setting off the war. So it would make sense to focus on these two. Aegon is absent for most of the war anyway and shows up at the very end, so what would be the point of framing it as the Rhaenyra versus Aegon?
  6. I used to think people were exaggerating but looking at this squad, it really looks like the Brazilian fullback is dead.
  7. The final two seasons of Mad Men were pretty lacklustre for me, I felt that everything I needed to know about the characters was accomplished in the first 5 seasons. Sherlock? Does anybody even remember that this show existed? Killing Eve got progressively worse as the seasons went on, I haven't even seen the final season it got so bad. Westworld is another show that got exponentially worse with each season, glad it got put out of its misery. Peaky Blinders was very repetitive in its narrative arc, I stopped at after season 4. The Good Wife lost all its steam by the final season, although you could clearly see this was the case during the back-half os Season 6. Dr House was fun for the first 4 seasons, had hit or miss episodes in later seasons and had an atrocious final season. What ?? 30 Rock had one of the greatest final seasons ever put to screen.
  8. There have been numerous complaints about the show taking itself too seriously and lacking a sense of humour and that the show sorely needs a Tyrion like character to lighten the mood. Then there's those who've complained about all the characters being grey having no relatble characters, leaving them with no one to root for. Not even love to hate them type characters like the Lannisters. Towards the end of the season, major plot points came as a result of accidents instead of character agency, as if characters can only be blamed if they played a direct role in an action.
  9. But would that make the conflict morally ambiguous or would it make turn the audience against Daemon instead?
  10. I enjoy the show a bit more than GoT. It mostly has to do with the fact that HotD does the sensible thing by trying to use as many cinematic tools in the toolbox, other than just dialogue, to help tell the story. My biggest fear for HotD is that in addressing some of the criticisms of the first season, changez made in future seasons would cater to this crowd.
  11. Yes, and I would really love for HBO to go for the most egregious case possible, just to see the media meltdown and the subsequent rule changes the Emmy's end up making. What do you mean by the chemistry not being the same? The Emmy's are mot the Oscars, if Zendaya can win it (twice), then Olivia ishould not be ruled out. I also find it really funny that at the start of the season, everyone was saying how Matt Smith was the only one elevating the show, but now at its conclusion everyone agrees the Paddy was the MVP.
  12. I wonder how much category fraud HBO is willing to commit to (and end up getting away with). Will Milly and Emily be campaigned in supporting while Emma and Alicent for lead? Drop the younger ones completely and have Emma/Olivia in lead and the other in supporting, or will they both be in supporting? Or will Emily get the supporting and Olivia get Guest Actress, given that she appeared in 4 episodes (less than 50%)?
  13. Except, that's exactly what they're going to do. Just have Otto telling Alicent that he's sending word to Oldtown to have them ready for war. We then see his brother Hobert talking to Ormund and Daeron about which Reach Lords need wooing, perhaps there will even be a montage with some of these lords. The audience now know who he is, who he's related to, where he's been and what he is capable of. Pretty simple if you ask me.
  14. What's wrong with characters acting stupid?
  15. I can definitely see Aegon throwing his brother a huge party, calling him a badass etc. I'd be interested to see if this provides a genuine bonding moment between the two before the events at Rook's Rest make Aemond revert back to wanting to be king. Not that I disagree with you, but I was under the impression that @Rockroi was referring to his lack of confidence due to his inexperience in dealing with such matters which is in turn due to his age. The actor's performance gave off the feeling that, internally, the Luke had to keep reminding himself of what he should do/say and keep the promise made to his mother as, again, he's not a natural at this. This portrayal is very consistent with how "a little kid" who is really trying would approach the situation.
  16. I really enjoyed this change as it is a solid way of telling the audience that dragons don't just do whatever their rider tells them and have a mind of their own (providing some context for the fight between Vermithor, Tessarion and Seasmoke). As for the lack of agency bit, I think this was done for narrative progression. Aemond is probably going to get worse from here on out, it would be more interesting to have him start out at a point where audiences can root for him until certain events make them turn against him á la Walter White as opposed to him being straight up villainous from the start of the war. Personally, I think demanding that every action be dictated by a characters agency is overblown and quite often leads to boring and deterministic storytelling. Having spontaneous events allows for better story avenues and exploration of character interiority based on reactions to the event. The writers could explore both the shame and pride Aemond might feel by telling everyone that he deliberately killed Luke and how every action he takes on from this point forward is him living up to this image of ruthlessness. Alternatively, he could be a sort of Jaime figure where everybody immediately assumes that the action was deliberate and now has to ruefully have to live with it and perhaps him attending the Battle Above the God's Eye is his more of a suicide mission (not unlike how some people over here interpret Daemon's motivations for doing so as well, which would neatly tie up their parallel narratives). But that still doesn't mean he's having an affair with Helaena. That's progress. Why should the show portray it this way to the viewers?
  17. I wonder of of this episode would be better received if there wasn't an expectation of an episode 9 event like its predecessor. This episode had a very washed out/desaturated look to it to emphasise the passing of Viserys. I wonder how effective it was given the season long complaints about the self-serious and dour tone that the show has adapted. I actually liked that the the small council already having planned for Viserys' death, after all, if the audience has been going on about when exactly is he going to die, why wouldn't the characters in universe do the same and act accordingly? And Alicent now knows she's been left out of this gentleman's club, and so seeks to gain agency by taking command of how the blacks should be dealt with. Somehow Alicent still believes that a war can be avoided without assassinating the blacks, but also knows that the blacks aren't going to accept Rhaenyra being passed over, so... right now is not the best time to be compartmentalising different courses of action against your self-righteousness. Who was Mysaria's Brienne waiting for years for Sansa, I mean Talya, to light the candles to signify Viserys' death? The Cargyll's and Criston/Aemond look for the Prince in the degenerate slums of Flea Bottom, only for him to be hidden in a clean and honourable establishment. Don't think I didn't notice what you were doing with the imagery there Sara and Clare. When found out, Aegon wants his mother, but when told that he's being delivered to his grandfather, Aegon makes a run of it. When Criston tells him that he's being delivered to his mother, he complies without hesitation. What does everyone here make of that? I'm of the opinion that Helaena believes that the beast beneath the boards is Aegon, given her refusal to look at him during the coronation, while she stared straight at the Red Queen, which I also interpret as her preferring death over continuing to live with the greens. As for Rhaenys at the end of the episode, I dunno, the only thing that came to mind was how ridiculous the whole storming of the dragon pit event is, as mentioned in the other thread. Other observations: There are two among the captain of the City Watch that remain loyal to Daemon. I'm assuming one of them goes by the name Blood? I like the idea of maybe having Aemond using the Battle of Rook's Rest as a cover to take out Aegon. Are the green agents really incognito when looking for Aegon? Particularly Aemond and his eyepatch and platinum hair? How much did the conversation between Alicent and Rhaenys play a factor in Rhaenys deciding not to incinerate all the greens? Otto meeting up with Mysaria incognito and yet he still has on his hand of the king lapel pin. SMH, these greens are pathetically incompetent. Gave it a 7/10.
  18. It's also informed by his behaviour when Dunk meets him. I didn't mention any emnity between him and Bloodraven. There should be a contrast between what we actually know about versus what others think of him based on their own prejudices (and an effective pr campaign run by Bittersteel).
  19. Among the many problems with this show, this one points out some micro-level problems that permeate throughout the series
  20. Nope, after the boy informs her of Viserys' death, Talya informs Alicent who in turn informs her father. It is while Alicent is away that Talya lights the candles in the room. Mysaria to Otto:
  21. No showrunner is going to stick to one continuous story for such an expanded period of time as they find working on a same thing to get tiring after a while. Creatives always look for something new and challenging.
  22. To me, they aren't really the same. Robert's Rebellion (inclusive of the events leading up to it) is meant to have a lot of ambiguities that invites audience speculation. Telling that story on its own is counterintuitive to the main ASoIaF narrative. The Blackfyre Rebellion, on the other hand, is pretty straightforward without any mysteries. It would also remove the burden of coming up with extensive exposition of the rebellion just so that the audience is provided with the necessary context to understand The Sworn Sword and The Mystery Knight. Would it also not be easier to sympathise with Bloodraven if we see his backstory rather than piecing it together through the various exposition dumps? And the bitterness that Maekar feels over the fact that people remember Baelor's role as the hammer and not his as the anvil? Imagine how powerful a scene where both of them arrive at Ashford and the crowd starts singing the song and the contrasting reactions between the brothers would be if the audience has already experienced the event instead of being told about it? And Dorne, we need more Dorne representation in Westeros (a better version than whatever GoT gave us).
  23. Agree 100%. I've always believed that adapting D&E without first doing the Blackfyre rebellion (and the events leading up to it) doesn't really make that much sense.
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