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TheCasualObserver

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  1. I would argue that Sansa is no better. For all that people claim she is a "player" now, she's terrible at diplomacy. Being cold and standoffish to Dany as soon as they meet is a bad move, even if Sansa does have a bad feeling about her. If Jon doesn't assassinate dany (and how could sansa possibly predict that?) she is putting herself and the north on a collision course with the next targ monarch for no real reason.
  2. I see this as a tactic they've used in the past which is now backfiring. Previously they've used these behind the episodes to explain the motivations of a character or the mechanics of a plot to excuse the absence of proper characterisation. But now that the plot is so shallow the explanations aren't fooling anyone anymore and make D&D look a bit ridiculous. >You have to ask 'what is this plot?' >Dany kind of forgot about the Iron Fleet >Euron didn't really listen to Tyrion
  3. I know this is off topic, but I have to stand up for Jon a little. The only reason Jon fought the BOB when he did was because Sansa wouldn't tell him about the knights of the vale. She essentially rescued a situation she herself ruined. Not that Jon isn't a massive dumbass. If he hadn't led the wight hunt north of the vale and sent Podrick for help, the NK would be stuck beyond the wall for the rest of history without a dragon. In the end he completely fucked everything up and his little sister had to bail him out.
  4. This is just crazy to me. If Arya is able to do what she did at the end of this episode, couldn't she sneak up on Cersei and cut her throat within ten minutes of the next episode? The conflict should be over completely.
  5. I've mentioned it before, but it is utterly impossible for Cersei to be queen in season 7, if anything we know about this world is true. It reminds me of Varys' riddle about the three men and the swordsman: is he motivated by religon, authority or wealth? At the start of season 7, how does cersei fulfilling any of those motivations? She blew up the sept so she's an affront to anyone religous, she murdered the queen and (it is assumed) murdered her own son so she has no legal authority, and the mines of casterly rock are empty so she has no money. How, HOW can she possibly hold any power at all? Her own Lannister guards would cut her throat whilst she slept.
  6. I couldn't even tell you if that was supposed to be genuine tension or not. The final scene with LF implies they were faking the whole time, but what was with that scene where Arya shows sansa her bag of faces? LF wasn't present for that, so why include it if this was all a ruse?
  7. There is a very good reason why the northern lords aren't present in winterfell in Season 5, it's just not a part of the internal story. Think about it: sansa is taking jeyne's place in the plotline. For that to happen she needs to marry ramsay, be abused by him, then run away with theon's help. That's what is going to happen. But if the northern lords are there then why doesn't Sansa get help from them instead of Theon? And if sansa fails to ask for help from friends of her father, she looks even more politically incompetent than she did when she said yes to the marriage. So even though the narrative logic of the wedding (boltons marrying sansa to control the north) tells us that the northern lords must be present to witness the marriage, the plot itself wouldn't work if they were because it would give sansa someone else to help her other than theon and that old lady. So they fudged it - the northern lords are both there and not there at the same time. Schroedinger's northerners.
  8. I still don't really understand why Jaime broke with her when he did, it seemed arbitrary. I'm not saying I side with Cersei, but choosing not to fight with Danerys and the Starks against the white walkers is hardly crazy. Cersei has no men at the moment and couldn't make a difference even if she wanted to. And there is no way that after the war is won they let Cersei control anything anyway. It's short sighted logic sure, but there is logic to it. I don't see why Jaime would object to that so much, when he was fine with Cersei literally blowing up hundreds of innocent people with wildfyre, the very thing he killed aerys to stop. It makes no sense at all.
  9. I'm in complete agreement about season 4. I had my doubts about at least some of the choices made in earlier seasons (the sexposition, Talisa, Robb's war ect) but season 4 was where the wheels started coming off. I knew there was something wrong with Jon's trip to crasters keep, Jaime seemed off because Sansa was still in KL, and the watchers on the wall was kind of boring for a massive action scene, but the absence of any mention of Tysha in the season finale was the watershed moment. I disagreed with that "adaptional decision" strongly and thought it weakened the character of Tyrion in a really bad way. And after that came season 5. And that's when the anger set in.
  10. I still don't understand what happened in the Arya/Sansa plotline. Everyone was talking about how the starks and particularly sansa brought down LF, but that's not what the show gives us. Arya and Sansa legitimately looked taken in by LF's idiotic ruse, until bran used his magic knowledge to set them straight. I'm only piecing that together from what the show gave us (which was practically nothing) because Arya and Sansa argue over the bag of faces and that wasn't a trick because LF is nowhere to be seen. Even if he was, I don't understand why Arya would give him the knowledge that she's a magical assassin. How does that help trap him? If anything it would make him more eager to get away from winterfell, which defeats the point.
  11. I do enjoy self-owning quotes like that. They are effectively saying that characters behave in a certain way for a big payoff later, except the actor doesn't know what the payoff will be until it comes, so how can it factor into the performance? Could it be any more clear that characterisation is secondary for these people? I always knew that D&D got into the show to make the red wedding, which was the big shocking moment of the books, but it is painfully clear now that that shock is the primary appeal of the show to the majority of its audience and its writers.
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