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She just did it so fast, like a cheap magician, that it's barely noticeable in real time (just the smallest hesitation in the movement of her arm going down, as she twisted and teared the stone away), but you clearly see her snatching the stone/vial if you freeze the right frame (linked picture with the stone in Olenna's fingers).
The necklace with a missing stone is clearly visible on the next shot of Sansa (no, it's not hidden behind her hair, it's really gone). Olenna took off the last stone on Sansa's left side.
http://i.kinja-img.com/gawker-media/image/upload/s--0tsTwAPq--/c_fit,fl_progressive,w_636/pyznszcs3rxc9gofzul8.png
(sorry, that picture isn't as obvious as some others I've seen where the frame had been scaled up and you clearly see the empty socket, but it's the best I could find with Google.)
Yeah, but you can tell. The setting is on top of her neckline, though seeing it in motion, you could assume it sticks under.
For sure this wasn't supposed to be noticed by 99% of the non-readers audience. It's only when Sansa notices one stone is gone that more people are going to remember that Olenna's the only one who fussed with Sansa's hair and necklace. But the production didn't cheat, they really had Diana Rigg do it on screen.
Props to her, then! That was good.
As for when she slipped the poison in the goblet, we don't see it happen on screen, but notice Olenna's focus of attention through the scene.
That, at least, was noticable. My brother even caught it, and he had no idea. He thinks Cersei did it, and Olenna's behavior was a red herring.
Martin and the director pulled it off quite well, I think. Part of the changes were there to help fool the audience and give them a bit of a whodunnit for one week. Martin is flexible and adapted quite well to the different codes used by the TV show.
There is some of that, and I try to be understanding about the need to accomodate the realities of the medium. I just don't see why they assume that while the books were sufficient to attract readers and retain a large audience for the rest of the series, they feel the need to Sandersonize the dialogue, or ram Anglo-European actors into an American book. Or shoot so many extraneous brothel and prostitution scenes. Or shoot the temperate-climate "capital" on Cyprus, while going back to Ireland for Storm's End which is considerably south of King's Landing. Not enough castles or medieval-europe-type places in Ireland for them to shoot? Maybe the travel budget could have paid for a battle scene in the first season, in addition to having the whole country LOOK like a single country and culture. Especially since they're downplaying the distinctions between the Seven Kingdoms, and emphasizing the unity of Westeros for the sake of simplicity.
Misinterpreting their body language and exchanges of looks, part of the non-readers already convinced themselves that Sansa in a suicidal move used nightshade procured her by Tyrion earlier, poured it in the goblet, which Tyrion saw, and in which he poured wine - and that Ser Dontos saw her do it and came to rescue her. Not sure what convinced them Sansa would be capable of a move like that, or why she prepared for an opportunity she was so unlikely to get, but oh well.
I think all the emphasis on how he had killed Ned, and rubbed the destruction of her family in her face was a deliberate mislead by the showrunners. People who don't read are more easily suckered, and they are the kind of people who would have been targeted by that kind of thing. Although, speaking of the part with the sword, you'd think they'd have included some of the actual book dialogue (which is always better when they do use it - the Greatjon's lines about Robb, and Mirri Maez Duur's confession in season one, and Tywin's dismissal of Tyrion's inheritance last season being examples that leap to mind), and have Tyrion share his suspicions with Sansa re: the fate of Ice and Joffrey's assassination attempt on Bran. Those would have been the icing on the cake of giving Sansa a motive for the viewers.