charis

That makes so much sense as to why D&D might have made that choice, doram -- and I'm sure there's a lot of people who think it's an utterly boneheaded choice (hi!), but it's at least a little more explicable to think of what was going through their heads like that ... I always thought the tragedy of book!Robb was that, in the most bitterly ironic of ways, he proves himself his father's son (honour before reason) -- a fact his adversaries were counting on. Show!Robb's tragedy is, as you said, being a teenaged brat. It makes me want to smack him upside the head, which detracts from the grief otherwise there at how he dies.

Grief does terrible things to people, especially when they're no doubt already deep in self-castigation. Cat had told Bran time and time again not to climb, and it seems exceedingly likely she's wracked with guilt for what she sees as her part in his injury as well as grieving the potential loss of her child. It doesn't excuse her words, but it does explain where they're probably coming from. I never understood people who say "how could she say that?!", because to me it seems entirely plausible in that kind of situation.

From what I heard, they bumped it for some sport -- not sure which.

Looks like it aired as planned (replanned? close enough!) in the UK last night.

There's a lot about those memories that goes towards unreliable narrator and some seriously rose-tinted lenses; I suspect in reality Athos had more cares than he wants to remember, at least if he had any of the sense of duty we see in him later. If he's trying to recapture an idyll that probably never existed as he recalls it, then that seems like a mission doomed to failure, even without discussing the practical realities of the situation. Your memory is sound, Happy Harpy; at the end of The Return, Athos basically goes hands-off and effectively renounces his title and gives the lands to the people of Pinon. (I qualify with 'effectively' because I don't think he actually could do anything like that historically and my recollection of how the show handled it is fuzzy, but it's basically that when distilled down.) And if you take it as him giving up the title and the claim to the lands and never going back to Pinon, it begs the question of what he actually has left to his name ... (You said in an earlier post that it seems like a sentence to being bored to death for him -- and in the long term I agree; he might want that now, and it might help him in the immediate, but I can't see him being happy with that kind of quiet life years (or even months) down the road and I'm not sure he ever would have been, even before the Musketeers.)

Oh, I agree completely -- the problem is what the show tells us (tacitly) is a Proper Happy Ending, based on how the Musketeers (and their respective endgame ladies) finish out the show. (Which is just one more part of a long rant about the show's handling of female characters throughout all of the seasons that I probably shouldn't get into here.) And you're right, we weren't told much; what we were told, and what we're given, to me reads as if they're telling us that "LOL no she's evil and she was always evil and she went right back to being evil so clearly she was unworthy". Someone on Tumblr described it as a vicious loop of "does she kill because she's unhappy or is she unhappy because she kills", and while S2 pointed to the latter with her desire to change, I find the handwavy reversal in S3 forced at best (and a total waste of a character and kind of illogical besides, but that's another soapbox). That is the problem I have in a nutshell, especially when his actions towards her are (and always have been) without consequence. ... wait, I said I wasn't going to go climbing on soapboxes, didn't I? Anyway. I'm in the minority on here in that I have a lot of can't regarding S3; I like some of the high-level ideas but I find the execution to fall flat both broadly and specifically (with a few exceptions) and to include some very serious problems. I'm glad people liked it, and I'm glad there can be civil discussion about its merits and flaws, but I'm definitely not in that happy group. (I'll just stay in my own little world where there are only two seasons instead. XD )

The showrunners have been trotting out Mamie McCoy's pregnancy as an excuse for her storyline, but TBH I don't see any way in which that adds up; even if they'd had the limited time for her that her airtime suggests, there are multiple story paths and scenarios that would've leveraged that to an ending that made more sense after where Season 2 left her. It felt as if what time she had was explicitly being used to paint her as unequivocally villainous, thereby freeing up and whitewashing Athos' character. (I might be a little bitter about this; Milady is and always has been my favourite character in the source material and adaptations, and I especially enjoyed her on this show. And I do ship it (especially in this adaptation), but while it makes me angry as a shipper it makes me even more angry as a fan of Milady.) (I wanted to like Milady's ending, but I have so many problems with it because of how it was presented, as opposed to the strictly factual situation -- she's still being used as a narrative tool to warn Anne, as well as shown as ending up there because she's lost all chance at the spouse-and-kids scenario we're being sold as the defined Happy Ending. If the choice was one born of her agency it would change things, but it's not -- her agency is stripped away pretty much wholesale this season -- and that wrecks it for me.)

Word on the street, as it were, is that Season 3 only was greenlit thanks to international viewership -- and I don't mean American; there's probably a reason it aired in Turkey well before it showed up on BBC. They dropped the ball with promotion in the second season and only seem to have gotten worse in the third, and it sounds like there was significant viewer dropoff. With all that, I'm not entirely surprised it went to streaming rather than cable in America, especially if Hulu was willing to pay and BBC saw that as a way to recoup some of their losses. (There were some announcements about it going on Hulu, writersblock51 -- I remember seeing them linked on Tumblr -- but I can't recall specifics, and while I've long since dropped my Hulu subscription and have no interest in reviving it, I also don't recall seeing any promotional material related to this.)

Towards the end of 2x10, if I recall correctly -- they had little scenes for both the wedding and the morning after, but IIRC both were relatively low-key.

Sorry for not replying, ABay -- I get most of my information secondhand (people reposting news links or official show Twitter comments or the like) off Tumblr, and since I check that on my phone and this site on my desktop at work, it's hard to join the two up. And I'm with Athena -- I think there's a lot wasted potential in the show that could've been mitigated even after Capaldi left, especially with the solid cast they had, but that never seems to have manifested. I haven't heard specifics as to why they decied to cancel (though IIRC UK shows typically have a 3-season contract for the cast, so that may have been a factor), but I know they were having issues with the ratings. The marketing for this season really feels as if they'd already phoned it in -- migratory release dates, the show releasing abroad before it did in the UK, Hulu rather than cable in the US. (The whole thing is apparently already out on Latin American Netflix too, just for extra chaos. It's ... kind of fascinating to watch as a lesson in what not to do?)

Apparently the US isn't getting it on BBC America -- sounds like the series will be going up on Hulu for American watchers.

I can't pull citations here at work, but there have been other tweets and comments indicating this is the last season.

She not only jumps around in accent, she just plain doesn't sound Hungarian. One side of my family are expat Hungarian Jews, and nowhere in accent soup did she sound anything like them. Hungary's Jews were fairly well-assimilated at the time, from what I recall, and Hungarian is a language isolate, having her sound (for example) Russian or "vague Hollywood Eastern European" makes no sense at all. (Even a German accent would've been more plausible, between the vestiges of the Austro-Hungarian monarchy and possible Yiddish influences (if she were from a less-assimilated family.) NGL, it bothered the heck out of me. (I found Anna kind of grating as a character, but the accent kind of capped it all.) I think my favourite surprise with the new season was Rose coming across the country, because she was just delightful. I am 100% here for the ongoing Peggy vs. Dottie show, and the Peggy uncovering mysteries show, and the Peggy smacking people with whatever weapon of opportunity is at hand show. I am much less here for the Peggy romance show, so I hope they don't spend too much time there. Still, very much looking forward to the new season!

Agreed, Zuleikha -- I looked at a photo of Verbeek, and comparing it to my mother's (Hungarian Jewish) family, she doesn't look it. It would be nice if Hollywood let Jewish actors play Jewish characters when it's not for villainy or comic relief, but I suspect this has an element of name recognition involved. :\ Still, looking forward to seeing what the new season brings.

The actual song seems to be "Is You Is Or Is You Ain't (My Baby)", which was a 1944-vintage jazz standard. The utter matter-of-factness of Angie's delivery makes that line for me.