SeanC

Seems like a legit enough reason.

Or rather, she does, but the never-ending nature of comics storytelling means it never sticks.

I really don't see the connection there. That was clearly just to facilitate that particular story; why would the comics have ever added that? They never reflexively imported everything from the films.

Not quite. Roose and Walder never said anything about the Blackfish trying to hold Riverrun, and in Season 4 we heard that Walder runs it now, from Brienne. But otherwise, that's the last we've heard of the Riverlands.

Even aside from the Marvel characters they can't use, I'm skeptical of how much the "Old Man Logan" adaptation they're evidently considered would really resemble the comic, just because it seems rather unlikely to me that FOX wants to impose a future where most of the X-Men end up dead on a franchise that it's in the process of (essentially) starting from the ground up again.

Minor point, but I don't think Lysa and Littlefinger were having an affair in King's Landing. Lysa's behavior in ASOS is really more suggestive of somebody who's been waiting years, rather than somebody who's been engaged in a secret affair all along. Littlefinger on the show has no motive to kill Robin. The only reason to do that is to replace him with Harry, but Harry doesn't exist; in the show, Littlefinger has got everything he wants out of the Vale arrangement without needing to kill him.

I think that's pretty much what GRRM is going for. Sansa finds dealing with him exhausting, but you can see signs of improvement in his behavior as a result of her replacing Lysa as his maternal influence (though, per the TWOW sample, he's started to view her as a different sort of relationship potential), even though he's also physically deteriorating at the same time.

Jean, Cyclops and Storm were fine, personality-wise. They just didn't have much focus, and, in the case of Storm, a poor casting choice. Nightcrawler definitely played up one aspect of the character to the exclusion of others, but it wasn't invented wholesale (from the sound of it, the younger version will be more freewheeling).

Some are obviously more adaptable than others. I have a hard time imaging that Wolverine's classic costume would ever work on film, I agree. Jackman hasn't been in Montreal at all so far. Regardless, Wolverine had a prominent part in DOFP, but he hardly dominated it. He was one of several major characters, along with Professor X, Mystique and Magneto, and those three were the ones the climax revolved around.

I'm not ignoring them, I'm looking at them in context. "Bad men" are criminals, etc. There was comedy relating to Joffrey, but characters were on edge with him in every scene that he's in, because he was dangerous. A Robin who was actually having people killed on a whim would be a totally different character than the one we're presented with. The other characters consider him a pathetic screwup, not a psychopath; Sansa, in particular, who spent years with Joffrey, would treat him totally differently if he was anything like Joffrey, and lords like Royce would be talking about him in terms rather different than making fun of his suckitude at armed combat. There's simply no basis for me to conclude the show has made such a drastic departure from the books on the basis of a few lines of dialogue that simply don't fit with anything we actually see on screen, and which doesn't serve any narrative purpose, seeing as none of the characters treat him any differently than in the novels.

Not that this wasn't predictable based on the Euron casting, but Gemma Whelan is in Belfast now hanging out with other castmembers, so I think Yara's return is close to confirmed.

It wasn't "for no particular reason"; it was because she was angry at her for involving the Vale in a potential war by bringing Tyrion there. That's state politics. Also, threats are not the same thing as actions; characters make them all the time. As for Robin's statement, he's a child; "bad men" are people like Tyrion, accused of a crime. There is nothing to suggest that Robin throws anybody he doesn't like out the Moon Door. If he did, the way people treat him would be totally different, akin to how they treat Joffrey. Instead, he's portrayed as basically pathetic and, when we last saw him, a comic figure. The wiki is fan-written. I'm not sure what point is being proved by citing it.

There are certainly some characters who are very different (Rogue, Iceman, Mystique), but I think most of the characters who get any degree of real characterization are pretty similar to the comics. It's more a question of character focus, and certainly, Singer's first two movies didn't have much focus on the team (though I think they're both very good movies). The new sequence of films that began with First Class are really delivering more of what I want in terms of X-Men films, and I'm excited to see the new kids join in Apocalypse.

Again, Tyrion was on trial for murdering Robert's father. Obviously he has seen trials and executions of that nature; just as all the Stark boys see their dad behead people. That is not the same thing as Robert having people he doesn't like thrown through the door for trivialities. If that was happening, the way people react to him would be totally different.

Tyrion was on trial for murdering Robin's dad. I'm sure Robin has presided/witnessed criminal trials. But no, they are not tossing random people out the Moon Door because they look at Robin funny, which is what you seem to think. I don't know how you could possibly read Sansa's chapters and get that impression; he's a brat and an annoyance, not a walk-on-eggshells-around-him killer.

Yes, it is. What you're suggesting has absolutely no basis in either the show or the text. Robin is a bratty kid whose tantrums are not heeded.

Dillane didn't submit for consideration, so he couldn't be nominated.

I don't think the MCU is nearly as kill-happy as many such franchises; Loki, obviously, but also Nebula, Red Skull (though they haven't made any move to bring him back), Justin Hammer (ditto), Abomination (ditto). I thought the opposite. I was really confused by how Falcon was going to fight Ant-Man at all, but he got some good hits in. I don't think I'd rate this among the top MCU films, but it's very entertaining, and it does an impressive job of clearing the hurdle of justifying its own existence and making the Pym technology seem both relevant and significant (which it is, when you think about it, but it's common to write off shrinking technology). If there was one point I thought was kind of muddled, it was Scott's starting point. Given all the talk about "redemption", I don't get why they made his initial crime a Robin Hood-type thing where he was just trying to help people. Lang in the comics just became a thief because he wasn't making enough money to support his family, which is also a somewhat sympathetic motivation, but ultimately a self-centered one. It's especially odd given that they have him plot to steal for profit later anyway. That said, I liked the character overall, and Paul Rudd is surprisingly plausible as an action hero (albeit one with a comedic bent). Michael Douglas was terrific as Hank (and, incidentally, the CGI de-aging they did on him in the opening scene was amazing). Evangeline Lilly's Hope was an unexpected strong point of the story. There's been a ton of controversy around the way Janet was going to be handled (or not) in this adaptation -- which also gets unexpectedly addressed -- but Hope is actually a really well-realized character. Indeed, of all the MCU female leads, I'd say she has easily the most backstory and the character arc most separate from the male lead (until Peggy got her own show, but that's not in the movies); her real story is with her dad and the legacy of her mother. I know some people have called it a token romance, but the hookup between her and Scott at the end is underplayed to the point where it comes across very casually and not like a big deal (romance plots don't need to be at the center of every story). Michael Pena's unexpectedly-sophisticated and enthusiastic thief was another highlight. As a Young Avengers fan, I was also pleased with little Cassie, too (there are some nice character touches, like her being thrilled with the ugly doll and adopting the giant ant as a pet at the end). They did a really good job of making the action and aesthetic stand out from other films in the universe, and not just because of the size-changing; Pena's rapid-fire monologues complete with a lot of swipe-cuts really stand out.

No, I objected to leaving the Vale. Regardless, she did not leave the Eyrie because she felt unsafe there. Can you cite a single example of Robin having someone thrown through the Moon Door? It hasn't happened, because people know they're childish wishes. Joffrey is not an example of how regency normally works -- Cersei just sucks at her job. As Jaime tells the Kingsguard, they're not meant to follow commands of the kind Joffrey issues. Bran's input was valued, but that was because Bran's input was reasonable. Robin throwing occasional fits is not taken seriously. Hence, why Baelish, Royce, et al. don't think much of him, and are trying to whip him into some semblance of shape.

They don't actually throw people through the Moon Door when Robin wants to. He's a kid with no power. Moreover, they left the Eyrie.

No, she wouldn't have, because the plot required her to leave. She explicitly said she trusted Royce. She just left because the show turned her into a credulous pawn of Littlefinger. I didn't say that. I was responding to idea of him trying to have her thrown out the door. She's never demonstrated the slightest concern about that, and Robin is, for the most part, pretty easily-led.

David Bradley already confirmed that he'll be back.

That dress didn't look anything like what Wanda wears.

Singer said the little sister wasn't meant to be anybody.

Of the acting nominees, Lena has the best chance, though I’m not sure I’d call her the favoured candidate. Baranski and Froggatt are perennial nominees, but I don’t think there’s any reason for them to suddenly win this year. Hendricks is also a perennial nominee, but I suppose one must at least consider/hope that Mad Men‘s end has made the voters realize it’s ridiculous she hasn’t won already. Aduba is a bit of a wildcard, since she won Guest Actress for this part last year, in the Comedy category; while the transition to the Drama categories clearly hurt Orange is the New Black on the whole, it may actually benefit Aduba in some ways, since her arc in season 2 was not remotely funny. So I’d put Headey, Aduba, and Hendricks as the potential winners in the category.