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Le Cygne

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Everything posted by Le Cygne

  1. Tyrion, Jorah, Jon Snow, all big dumdums who fell for her not because she was a charismatic strong-willed leader who was constantly trying to balance her not inconsiderable power into doing the right thing, but because they wanted to get into them panties. Tyrion: I know you love her. I love her, too. Not as successfully as you. BARF!!!!!!!!
  2. It was very good. I love this part, they turned the Starks into the Lannisters. Their new sigil!
  3. True. And they made Shae jealous of Sandra. She begged Tyrion not to marry her. He said he had enough gold for a ship in his hands. She said let's go away. He could have saved both women. Instead, he said "No, I'm a Lannister." And as Lindsay Ellis mentioned, they made Sandra hate Dany because she's pretty. I guess we are to presume that's why she hated Cersei, too. After Sandra nearly killed Arya the season before, they were scrambling for the next catfight.
  4. Oh yeah, there are so many more! Ros was just another body to exploit (like the Craster's Keep women). Littlefinger was never held accountable for all the many horrors he inflicted upon women this way. Exploited women as scenery. They made Catelyn say she was "the worst woman who ever lived" for being mean to Jon Snow. Also she was upstaged at the red wedding because they wanted Talisa's fetus stabbed. Shae was the kidnapped prostitute who they made bizarrely actually fall in lurve with the dwarf who kidnapped her and didn't pay her. St. Tyrion never paid the slightest price for murdering her, hell, that's all he could do, she was such a ninja and all. (Also they added attempted rape as foreplay for Gilly... they even added it for their beloved Cersei. And of course, Dany's wedding night, they totally missed why the author made that consensual in the books.)
  5. Indeed. They are so ridiculous. They are so nasty. Their trademark "rape empowerment" arcs are the worst. And female sexuality is punished. Sandra is passed from one man she doesn't want to another, and in the end, they make her thank them, and never let her choose someone she desires (a big part of her story with Sandor in the books). And of course, they screwed over Arya, too. Being part of a pack is where Arya lives in the books. So they made her use Gendry (one of her pack) as a boy toy, then toss him aside to be no one forever. Dany gets punished for choosing someone she desires (which they didn't really show), then when he doesn't do her, she goes bonkers, and then when he tricks her into thinking he will, he kills her. Osha did her obligatory strip for a man on camera stint (another trademark of theirs), then they used it against her, having her die on Ramsay Bolton, wordlessly. They didn't even let her speak. And much more. They are the worst. Oh how could I forget Brienne, who honors the man who used her and tossed her aside, they make her write his page in the white book instead of starting her own.
  6. She reacted just fine, and by their own reasoning, more than fine. They like to change such reasoning to suit their scribbled cocktail napkin "scripts" as we know. They made their Sandra monster choose to marry a Bolton, and then feed him to the dogs (her trademark Benioff/Weiss/Cogman "rape empowerment" arc). Dany was forced to marry Drogo, by Viserys, who horribly threatened and assaulted her from birth, and she doesn't kill Viserys, Drogo does. They were as proud as a two year old of his poop of Sandra's smirk when killing Ramsay. They couldn't stop talking about it for their misogyny trophy slash Emmy. But somehow Dany's relief that her brother is not going to sell her to 40,000 rapists and cut out her fetus (threats he made on the show, too) after she warned him to stop... BAD! Viserys: "I would let his whole tribe f*ck you, all 40,000 men and their horses too, if that’s what it took." Woefully inconsistent. And nasty. It's so hard to even remember their nastiness toward women. And they got a huge new deal and will get more awards. Whatever. 
  7. I watched the Lindsay Ellis videos again, and they are very good, one thing that stood out was Benioff saying in the outside the episode, well, look at Dany's reaction to the death of Viserys, like that was a bad thing. A rare scene where they didn't destroy the symbolism, only because they didn't see it. They truly left nothing, they actually went on a search and destroy mission, to crap on every good thing they might have missed. (Anyway, there are a ton of such moments, it was just funny that they went there, and actually thought anyone would buy it. The last outside the episode must have been a real doozy. No wonder someone pulled it.)
  8. Another thing, if he was this vague and cryptic with Benioff and Weiss, as bad as they are at just basic things like maturely understanding and presenting humankind in a responsible way... He'd really have had to spell things out just for them to grasp the basics of the story, so they just didn't even bother, apart from a couple of AWESOME! things they misunderstood and destroyed.
  9. He's always said some variation of this about the books: "So I took myself out of all that and let fans have their theories, some of which are right and some of which are wrong. They’ll find out which when I finish." I think he's talking in terms of the books here, since he's said this over and over again. So maybe that he's still saying it means the show is different, too.
  10. "If you’re so distanced by it that a character dies and you don’t care, then to an extent the author has failed.” That's what happened with the show. Let's see, did we get any variation on his usual canned responses? At least there was no Scarlett this time. Instead of getting him to be clear, the interviewers spin, and then the fans do. Garden Party he's used before. The thing is, it's fine to play the songs the audience wants to hear at a concert for the audience. If the singer wants only to please himself, sing in the shower. A book series is not a personal journal for the author's eyes only, it's supposed to be entertaining to the readers who buy the books. And pleasing yourself AND the readers seems like a worthy goal. Anyway, there's one thing new, a new way of saying the books are different: "they’re not the same thing, although they are very closely related to each other" - still vague, but "not the same thing" sounds good, anyway.
  11. Agreed. Nothing is perfect, but that was damn good. It was a faithful adaptation of a well-loved fantasy. The proof is in the pudding (aka the work itself), and the Game of Thrones pudding fell flat as a pancake.
  12. Tolkien got there first. (BTW this is meant to go with my post above.)
  13. Bottom line is Game of Thrones is NOT one of the best shows on television. What he said didn't ring true, because he didn't tell the whole story. He speaks of acclaim, nominations, and awards, without mentioning the rest of the story: There was an enormous amount of criticism, from both viewers and reviewers. There were many shows far more deserving of nominations. There was a voting change that makes the Emmys "a glorified people's choice awards." He speaks of lighting a torch for others to follow, without mentioning others came first. There was notably LOTR, a very faithful and successful adaptation of JRR Tolkien. And that one has an ending, and the ending was well-received. BTW here are the ballots, there were many more worthy nominees: https://www.emmys.com/ballots/2019
  14. Note, he's using the words "our" and "we" with respect to the show. He's also referring to prequels plural, even though HBO said only one. What does his praise for the show mean for the books? Nothing, I don't think. He is just making a case to win more empty awards here. "Game of Thrones changed television!" The takeaway is even if you throw lots of money at garbage, eventually people will start smelling it.
  15. This early review had Benioff and Weiss pegged. They continued doing the same thing, casually throwing out the horrors, and it kept getting worse, until they revealed their hand in the final season, there was no meaning to any of it at all. It’s apparently a truth universally acknowledged by cable television writers that the rates of nonconsensual sex and mindless violence rise exponentially the further back in time one goes. The rationale, or even excuse, that shows with this philosophy offer is that the kind of racism or sexism they portray is historically accurate (never mind, of course, that Game of Thrones takes place in a fictional universe). In other words, these shows depict women who are treated like disposable objects and ethnic or racial “others” who wantonly destroy life because that’s the way it was. But historical accuracy and fear of anachronism are not good excuses for representing racial and sexual politics in the way that Game of Thrones does. Deadwood began its run with some similarly shocking occurrences of sexual violence and racial caricature. But that show also offered blistering and uncomfortable critiques of the culture that enabled and encouraged those acts, and it offered layered portraits of women and ethnic and racial minorities who survived and resisted that dismal age. There’s no evidence of such critique so far in Game of Thrones. Every act of brutality, every assaulted woman, every exoticized barbarian is presented for the delectation of the audience. No prostitute appears on screen without her bosom already exposed, no transgressive sex act occurs without the frame of luxuriant tapestries or the glow of moonlight upon it. This show’s historical misogyny and racism are purely aesthetic, and that’s a problem we should hope this series works out on the double. These issues would not be excusable, but the viewer would have perhaps more patience with their resolution if this series showed even a remote curiosity about its own characters or a sense of adventure or energy in the telling of its narratives. Co-creator David Benioff, before making his way to television, wrote the screenplay for Wolfgang Peterson’s Troy. That film is fine as a historical epic, a rollicking action film, and a beefcake showcase for Brad Pitt, but as an adaptation of Homer’s The Iliad, it’s puzzling and unfortunately ham-fisted. Eschewing all that makes that epic poem so enrapturing (the politics of the gods, the nearly supernatural transcendence of warriors in battle, the ruminative pacing, the narrative incompleteness, the sense of time and exhaustion), Benioff produced a barebones version of The Iliad built of its least interesting parts. The same lowest-common-denominator adaptation theory seems to animate Benioff and Weiss’s Game of Thrones. The show, for instance, does not in any way attempt to import the narrative innovation that defines Martin’s book series. That is, each section of A Song of Ice and Fire is told from the limited third-person perspective of a different character. In contrast to the Tolkienian sweep that Game of Thrones aims for, Martin produced a strangely intimate epic, grounded in the richness of his characters and their inner demons and angels. This, obviously, would be a difficult feat to accomplish for a cable television series, but if not on HBO, where? Game of Thrones has been incessantly called “ambitious” in its press materials, and, in terms of its obscene budget, it is. But the narrative structure of the series is not at all as ambitious as its price tag may suggest. Benioff and Weiss have chosen the easiest way to tell this story, and the show suffers from it. https://www.slantmagazine.com/tv/game-of-thrones-season-one/
  16. Yeah, all sorts of toxic messages. You must be insane if your father is, you must throw away your life to die with your evil sister or brother, you must thank your sex trafficker and rapist for empowering you, etc. Nonsense presented nonsensically. And I don't even want to get into the glorification of their saintly self-insert, who gets away with everything and is rewarded in the end. Or the wizard who has no regard for humanity ruling over humanity. And so on... It's one thing to write really badly, and they do. It's another thing to spew out toxic messages into the world. That seems to be their one distinction, that they glorified evil, rather than making a statement about it. 
  17. Indeed, they aren't capable of doing anything like that. All Benioff and Weiss do is copy things badly, strip away meaning, add misogyny and toxicity, and since they are actually less mature than the Stranger Things kids, they can't even write 13 year old boys well.
  18. Yeah, things will go from bad to worse for Netflix when that deal goes south. Just saw this, Benioff and Weiss sold them a bill of goods, too. Sounds like their plan is to copy badly. "We remember the same shots from the same 80s movies; we love the same books; we're excited about the same storytelling possibilities," they said. https://www.bbc.com/news/entertainment-arts-49276329
  19. Dropping Netflix felt good. Before it was a Benioff and Weiss-free zone, and now it's a self-contained Benioff and Weiss zone that can be easily jettisoned as toxic waste.
  20. I wish I knew. Seems like tone deaf Hollwood good ole boys nonsense as usual. Think of all the more worthwhile projects that could have been made with that money. Do not want to run across Benioff and Weiss crap ever again, so time to unsubscribe from Netflix. I'll just subscribe for a month when Stranger Things comes out again.
  21. Indeed. I didn't see Benioff's Troy but just read this scathing review by Roger Ebert (this all sounds very familiar to viewers of Game of Thrones): "Troy" is based on the epic poem The Iliad by Homer, according to the credits. Homer's estate should sue. The movie sidesteps the existence of the Greek gods, turns its heroes into action movie cliches and demonstrates that we're getting tired of computer-generated armies. Better a couple of hundred sweaty warriors than two masses of 50,000 men marching toward one another across a sea of special effects... The best scene in the movie has Peter O'Toole creating an island of drama and emotion in the middle of all that plodding dialogue... O'Toole's presence is a reminder of "Lawrence of Arabia" (1962), which I saw again two weeks ago, and which proved that patience with dialogue and character is more important than action in making war movies work... In a way, "Troy" resembles "The Alamo." Both are about fortresses under siege... One difference between the two movies is that Billy Bob Thornton and the other "Alamo" actors are given evocative dialogue, and deliver it well, while "Troy" provides dialogue that probably cannot be delivered well because it would sound even sillier that way. https://www.rogerebert.com/reviews/troy-2004
  22. Yes, it's outrageous and it's also really bad writing. They are woefully inconsistent, they can't manage to hold onto one coherent thought. They said themes are for eighth grade book reports, so why get in over their heads and throw everything at the wall, just stick with boobs and violence. She's Hitler, she's the US military, she's Satan, she's Jesus. She's everything but a person to them. They can only make up their mind about that one thing. In the end, "these smart, experienced people plan a better future," and in the very next sentence Bronn the Bogus makes brothels the number one priority. They end it with a cheesy triumphant montage, the pack separates forever and does the same thing they did in season 1, with zero progression. Jon at the wall, Arya wandering around, Sandra coveting a tiara... So they are saying everything is awesome, so I guess brothels ARE the number one priority. You can't actually make sense of any of it, that's the one takeaway from the whole thing. It's the biggest mess of nonsense ever. The end.
  23. Oh, the scripts, the more you look the worse it gets, if that's even possible. I saved the Emmy-nominated ones (some winning!) before they had them pulled (yeah they pulled previous season ones, too)... and they are all just so atrocious. They say someone is smart, so it must be true. They say, they don't show. (Ramsay is smart, who knew.) They make nonsensical pronouncements that have nothing to do with anything. They sound like 13 year old boys. They endlessly copy other works.  And lots of repetition of common words, these are such bad scripts, there's no coherence, and not even basic mastery of the English language. Lots of the word fuck, and lots of times they just repeat themselves mindlessly: the most tense moment of her very tense life the Night's Watch knows how to keep prisoners imprisoned the power that moves them is powerless she tries to convince Arya by simply telling the truth, but the truth is not very convincing then he sees something, what they brought him to see we begin to see what he's seeing adding further pressure to an already pressurized situation the envoys exchange glances and laugh, oh, how they laugh! because he's human and it's a natural human reaction his expression asks her what the hell she's doing here, but unfortunately this is a question her expression is incapable of answering Wun-Wun runs forward... Wun-Wun run fast! it tastes better than anything the dog has ever tasted the single greatest headbutt in the history of filmed headbutts a strange response but Tyrion has come to expect strange answers Yes, these are actual quotes from the scripts. Here's their go-to word: fuck this world fuck it, why not what the fuck do they do now? fucking dragons my tyranny's not ended, motherfucker hurry the fuck out of the way about fucking time the Starks are fucked Tyrion Lannister, motherfuckers fucking punkass little shitburger but fuck, he's not quitting how the fuck did this happen? how the fuck did he end up here? And more eloquence: tastes like day old cock cheese the downside of freedom it is pleasantly uncomfortable the throne [is] just a dumb bystander the thing keeps coming if this thing doesn't do what it's supposed to do this won't sound good they're quite good at ... it's a pretty damn good feeling because she's very smart but he is smart these smart, experienced people a badass of the first order some badass-looking ... Someone excerpted these and many more bad screenwriting examples on twitter...
  24. I just checked, it's still down at the link. That's hilarious. They don't show up for Comic Con, then don't want anyone to see their rotten script. When the going gets tough, they run and hide.