People like to nitpick on Twitter, obviously, and a lot of the focus of discussion about the episode was stuff like, “How did he throw the spear that far? Why didn’t he throw it before? How did Jon not die of hypothermia?” As a filmmaker, do you prepare for that kind of response?

Yes. We really do care about believability. There’s a tremendous amount of work that goes into making the dragons as believable as possible. It’s funny: The most unbelievable things, like lizards as big as 747s that can throw flames, people don’t have any concerns about the reality of that. It’s the smaller things that people get hung up on. I don’t dismiss it, because it’s important for us to tell the story in a way that that doesn’t get in the way for too many people. I have no problem with the way the Night King throws his spear, and the fact that it does kill a dragon and knocks it out of the sky. I think that’s fine. I think haggling over that is ridiculous. I get people’s time-frame concerns — you know, “Gendry must be running really fast! The ravens must be flying really fast!” [Laughs.]

I think if the show was struggling, it would be a drag to have people getting distracted by this stuff, but obviously the show’s doing pretty well, and it’s working. So when things like this come along, they’re plausible impossibilities. You’re hoping that even if something doesn’t quite add up, if it works within the story for us, it can carry the day. So for me, I think we were aware of the time thing, and I was thinking, Okay, if you say that Gendry is really fast, which I’m willing to say, and if you say ravens are super good at what they do, which I think you can say, and if you say the time on the island is a bit hazy because it’s an eternal twilight up there north of the Wall, so we’re not really sure how much time has passed, that’s an episode where the calculation of minutes fades away and you just sort of enjoy the story. But I did read one review where the guy got his calculator out and he could not get over the raven-speed. [Laughs.]

I interviewed “Beyond the Wall” director Alan Taylor about returning to Game of Thrones, the Sansa and Arya scenes, the big battle, the logistical issues, and more for Vulture. I think I got a lot of good stuff out of him and I hope you enjoy it.

In the last three days I watched the last four Marvel movies.

Thor: The Dark World (dir. Alan Taylor): Wafer-thin characters and worldbuilding offset by charismatic performances and cheeky action sequences. I don’t quite understand the white dwarf sexual gravity exerted by Tom Hiddleston on large segments of the audience, but he and Chris Hemsworth are clearly having a ball every minute they’re on set. Same with Kat Dennings and Stellan Skarsgard and even, in this one at least, Natalie Portman, who’s only ever been good in Closer (and I guess Leon) but is fun here.

Captain America: The Winter Soldier (dir. the Russo Brothers): Exciting, well-staged action from start to finish — very much the cinematic child of the Ed Brubaker run on the comics, where the characters felt solid and rooted in physics but operating at the absolute peak allowed, like they rolled a 20 for every saving throw. Not street level, super-street level, if that makes sense. Chris Evans is shockingly likeable in that role, which is hard for both him as an actor and that character if you’re a commie like me. I’ve never bought Johansson as Black Widow, but okay, fine. Mackie was fun as Falcon, Redford was Redfordian as the evil suit, and I liked the future Crossbones guy. A solid message regarding the out-of-control security apparatus, too, that wasn’t undermined by Black Widow’s “you need us” testimony at the end the way I’d been led to believe it was. Best of the lot.

Guardians of the Galaxy (dir. James Gunn): A decent enough tonal and design throwback to ‘80s/early ‘90s sci-fi/action/popcorn fare — the Kyln prison looked like something out of Total Recall — but it overshot fun and hit shrill time and again. The fight scenes were poor, like a sort of warped version of the Captain America ones: All of these characters are way powered up, yet the nature of the story required them to be brawlers, so you were left with this down-and dirty fight choreography that just revealed how phony the physical effects were. And none of these lovable losers were as lovable as the film needed them to be, or clearly thought they were. How about that Chris Bautista though, huh? Funny stuff. Though that reminds me: Over and over again, the Marvel movies go to the most generic-looking blue-skinned-cosmic-type villains in the whole Marvel Universe. Laufey, the Frost Giants, Malekith, Kurse, the Dark Elves, Ronan, the Sakaarans, the Chitauri — it’s like they took their pointers from Guillermo Del Toro’s still-baffling decision to boil the entire Mike Mignola bestiary down to a shitty redesign of the frog monsters for Hellboy.

Avengers: Age of Ultron (dir. Joss Whedon): Nowhere near as confusing as advertised. Nowhere near as sociopolitically noxious, either; jesus, if ever there were an illustration of my Golden Rule of Internet Argument — interpret with minimum good faith, attack with maximum rhetorical force — it’s the litany of charges leveled against this relatively innocuous film, that’s for fucking sure. Whedon’s an awful director of action, you can never tell what the physical stakes are for any particular move or blow or strike or dodge. But he’s good with teamwork, with selling the idea of this group as a group. With the exception of that cornball farm shit back at Hawkeye Acres, all the personal-trauma stuff worked very well too. James Spader was very funny as Ultron, and Paul Bettany’s Vision reminded me of something I’ve heard from many older superhero fans, which is that once upon a time the Vision was the top-dog “cool” Marvel character, like Wolverine has been ever since. Sure, I can see that. Like all Marvel movies, even the best, it’s almost aggressively bereft of style, so the emphasis on charm is a necessary saving grace.