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marinessI...actually have very little to snark about either of these episodes; this show is definitely roaring into its very good phase. Which doesn't mean that I don't have a few comments, of course. Also, these comments do have mild spoilers for all four books, including Feast of Crows, book four; you have been warned.
1. Biggest "huh" change from the books: the removal of the bit where Sansa runs to tell Cersei that her father is sending her from Kings Landing back to Winterfell and please, please can't they stay, like, please please, resulting in Cersei learning more about Ned's plans and setting her own in motion.
As always, I'm of mixed feelings about changes, particularly this one. On the one hand, the show has gone out of its way even before this to make Sansa unlikeable – especially her nasty little statement to her Septa, which book Sansa, careful to cloak herself in manners, would never have said. Adding the betrayal of her father would simply tilt this over the edge; as it is, I know several people who say they just can't forgive Sansa for that, and never will, no matter what she does in later books. (Become a pirate! Er, probably not.)
On the other hand…I've just finished rereading the first book, and I have to say, this is one bit where the timeline doesn't make much sense. Ned tells his daughters they will be going to Winterfell (and even at the time I thought he should have waited to tell him until they got a ship), and at least some days later, possibly more, talks to Cersei – making his plans very clear. She didn't need to hear anything from Sansa at all, although I suppose, possibly, maybe, possibly, if Sansa reached Cersei first, that gave Cersei enough time to pay off the gold cloaks and speak more to Littlefinger. But honestly this is a weaker part of the book.
2. Least necessary change: look, I'm all about the girl-on-girl sex, even when it's clearly done solely to raise TV ratings, as here. But….this scene made me twitchy, not because of the sex (although, memo to HBO, when your girl on girl sex is happening solely as an unconvincing demonstration of sexual skills and even the onscreen person is unimpressed, this….may not do as much to excite your audience as you are hoping) but mostly because I simply could not see Littlefinger -- Littlefinger - being so open about himself to two whores, even if they work for him. I could absolutely see, say, Theon, or Jon, or Robert, or Tyrion, or even possibly Jaime (not that Jaime does the whole whore thing) doing this sort of confession deal. Particularly Tyrion. But not Littlefinger, that liar and conniver who does not trust anyone, and who, four books in, has told everyone else less about his motives than he did in this scene, to the point where people are, as of book four, still trying to figure out what he's up to.
I get that HBO wanted to throw exposition at us. I really do. But the show had already shown us that Littlefinger is a conniving bastard who was once in love with Catelyn (or said he was; I have my doubts that Littlefinger was ever in love with anyone.) We didn't need a monologue mostly repeating this, unless the monologue gave us some additional information, which, in this case, not so much. Least convincing scene in both episodes.
3. Also, loving Charles Dance as Tywin, along with his utter contempt for Tyrion, and that small gesture of pulling the wine cup away from Tyrion. Although the best bit in that scene was undoubtedly:
"Bronn, son of –"
"You wouldn't know him."
This show needs more Bronn.
4. Finally, direwolves again! YAY! But may I suggest NOT leaving the direwolves just outside a locked door under the circumstances?
5. And, Sam, saying, "I hope that Wall is high enough" is in no way helpful or practical information about the White Walkers. Just saying.
6. One negative note for the TV show: the guy watching the show with us, who has not seen the books, is a) very sad that the little baby dragons haven't hatched and eaten anyone yet, although he has more people he would like the little baby dragons to eat, and b) is convinced that the final scene of the show will be zombies crawling and falling over the Wall in a nice CGI manner, which just repeats my earlier point, HBO, about overselling certain things. Oh well.
1. Biggest "huh" change from the books: the removal of the bit where Sansa runs to tell Cersei that her father is sending her from Kings Landing back to Winterfell and please, please can't they stay, like, please please, resulting in Cersei learning more about Ned's plans and setting her own in motion.
As always, I'm of mixed feelings about changes, particularly this one. On the one hand, the show has gone out of its way even before this to make Sansa unlikeable – especially her nasty little statement to her Septa, which book Sansa, careful to cloak herself in manners, would never have said. Adding the betrayal of her father would simply tilt this over the edge; as it is, I know several people who say they just can't forgive Sansa for that, and never will, no matter what she does in later books. (Become a pirate! Er, probably not.)
On the other hand…I've just finished rereading the first book, and I have to say, this is one bit where the timeline doesn't make much sense. Ned tells his daughters they will be going to Winterfell (and even at the time I thought he should have waited to tell him until they got a ship), and at least some days later, possibly more, talks to Cersei – making his plans very clear. She didn't need to hear anything from Sansa at all, although I suppose, possibly, maybe, possibly, if Sansa reached Cersei first, that gave Cersei enough time to pay off the gold cloaks and speak more to Littlefinger. But honestly this is a weaker part of the book.
2. Least necessary change: look, I'm all about the girl-on-girl sex, even when it's clearly done solely to raise TV ratings, as here. But….this scene made me twitchy, not because of the sex (although, memo to HBO, when your girl on girl sex is happening solely as an unconvincing demonstration of sexual skills and even the onscreen person is unimpressed, this….may not do as much to excite your audience as you are hoping) but mostly because I simply could not see Littlefinger -- Littlefinger - being so open about himself to two whores, even if they work for him. I could absolutely see, say, Theon, or Jon, or Robert, or Tyrion, or even possibly Jaime (not that Jaime does the whole whore thing) doing this sort of confession deal. Particularly Tyrion. But not Littlefinger, that liar and conniver who does not trust anyone, and who, four books in, has told everyone else less about his motives than he did in this scene, to the point where people are, as of book four, still trying to figure out what he's up to.
I get that HBO wanted to throw exposition at us. I really do. But the show had already shown us that Littlefinger is a conniving bastard who was once in love with Catelyn (or said he was; I have my doubts that Littlefinger was ever in love with anyone.) We didn't need a monologue mostly repeating this, unless the monologue gave us some additional information, which, in this case, not so much. Least convincing scene in both episodes.
3. Also, loving Charles Dance as Tywin, along with his utter contempt for Tyrion, and that small gesture of pulling the wine cup away from Tyrion. Although the best bit in that scene was undoubtedly:
"Bronn, son of –"
"You wouldn't know him."
This show needs more Bronn.
4. Finally, direwolves again! YAY! But may I suggest NOT leaving the direwolves just outside a locked door under the circumstances?
5. And, Sam, saying, "I hope that Wall is high enough" is in no way helpful or practical information about the White Walkers. Just saying.
6. One negative note for the TV show: the guy watching the show with us, who has not seen the books, is a) very sad that the little baby dragons haven't hatched and eaten anyone yet, although he has more people he would like the little baby dragons to eat, and b) is convinced that the final scene of the show will be zombies crawling and falling over the Wall in a nice CGI manner, which just repeats my earlier point, HBO, about overselling certain things. Oh well.