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Some of the guys are after Gilly, but Sam stands up for her and gets rewarded too. Is Cersei going to finally get what is coming to her. Sansa pleads for Theon to light the candle, instead he betrays her again. Lady Olenna and the High Sparrow have a duel of words, who do you think came out on top. Jorah and Tyrion finally make it to the fighting pit, is Dany excited to see him. One more question who is the prettiest girl in the world. Going into the details of the show, we discuss Arya and the house of black and white, is it going to slow. Is there anything to be held in Arya’s time with Jaqen H'ghar besides washing dead bodies and floors? Jorah and Tyrion’s journey brings them into deep conversation and then into sketchy hands. Petyr Baelish returns to King’s Landing for a meeting with Cersei. It is in this talks where he reveals some interesting details that make us further question his loyalties and motives. The Sand Snakes plot to kidnap princess Marcella and are thwarted by Jaime, and the king’s men of Dorne. Lady Olenna and Cersei have a sit down over Ser Loris and Faith Militant inquiry. After many threats between the two, we find that the the inquiry has gone awry and leaves us infuriated and asking what could be next besides a formal trial. Sansa's wedding to Ramsay began with Sansa putting her foot down and holding her ground with Miranda, then moved into the lackluster wedding in front of the godswood but the worst was left for last as the final season leaves us with mixed emotions. We are asked the question could Jaime ever really kill Tyrion for the crime of killing his father. We are also asked if Aegon could ever make an appearance on the show and the answer could shock you.

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Father and son engage in a war of words as they play a fast-paced variation of poker. Besides the action onscreen, what makes the scene crackle with intensity is the knowledge that Billie will soon return and find them playing poker. When Billie does return, her reaction—which ranges somewhere between shock and revulsion—reveals the perspective of an outsider who, for the first time, sees the mental illness that inflicts those with a gambling habit. Duvall, like fine wine, continues improving with age—his performance here is easily the most textured and intricate in the film. Bana and Barrymore are a feasible couple and both shine in their respective roles. Though Barrymore is the beneficiary of some fine dialogue, written by Eric Roth and Hanson, she still holds her own in a role more demanding than her usual teeny-bopper fare. The biggest challenge the movie faces is timing, which on the face of it sounds ignorant since timing is crucial to every movie. Texas Hold Em’ reached the height of its popularity, at least on TV, about two years ago. Had the movie been released at that time—or even six months ago so that it could cash in on some of Casino Royale’s success— Lucky You may have stood a better chance of winning big. As things are, Lucky You is a solid hand that plays up to its potential, but unfortunately doesn’t get the best of it. Though Newton does appear in the film in a minor role (Albert Finney plays the blind composer with the appropriate degree of nobility and sagacity), the movie’s main character is William Wilberforce (Ioan Gruffudd, Reed Richards from Fantastic Four ), an idealist championing social reform in Britain circa 1797. While fighting for the abolition of slavery, Wilberforce also contends with a debilitating illness which ultimately claims his life. There are a number of memorable scenes in the film, but two standout moments reveal the ways in which good can overcome evil, even when using less than virtuous methods (See: Star Trek ’s “The Savage Curtain”). The first instance of righteous chicanery occurs near the middle of the movie when Wilberforce instigates a poignant object lesson under the guise of an extravagant lunch served aboard a sailing ship drifting along one of London’s channels. Wilberforce tricks the assembled members of high society into experiencing, firsthand, the plight of African slaves when the elaborate vessel pulls alongside a slave ship. The inhuman conditions that exist on such ships, which have produced what Wilberforce terms the “smell of death,” confront the affluent onlookers with a graphic tableau of how the other half lives. There’s a bit of populist pride that creeps in when Wilberforce demands the wealthy spectators to lower the handkerchiefs from their noses and deeply inhale the fetid aroma.


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There will be a huge battle in Kings Landing and the dragons will destroy damn near everything including each other. Jamie's destiny may to kill cersi to bring things full circle. yrion may be last lannester still alive at end of show. ssuming Tyrion is a lannister how the night king will be defeated will be intresting. Childbirth was something MarvelRobbins brought up and honestly it isn't an option that's completely off the table. She'll lose all her children but she'll have Jon and the throne and be able to usher in a new era filled with change for Westeros. With the exception of Littlefinger, Lady Oleana, and a few others, there were no major deaths this season. The Snow Squad going beyond the wall felt particularly bloodless considering the circumstances, with Thoros and the dragon being the only casualties. But I think that was deliberate to save the majority of the death for the last battle. I can't see the twist in my head right now, but there is one. Pretty sure part of it has to do with the baby (which she never saw) being described as all dead-dragon-y. Maybe her dragon dying and being reanimated made that a full circle. Hes on his way back, and she takes off to House Mormont to help train Lady Mormont how to fight. Who knows, maybe Tormund survives and sends for help and Sansa sends out Arya to lead an expedition. Then I think we'll get Cersei as the final villain. As for specifics. I feel like that same battle will likely lead somehow to the permanent rest of all three dragons, to clean the board for Mad Queen Cersei as the main villain.

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Because aesthetic practice, spiritual practice, social engagement, social involvement—these things that are of a life that extend beyond the physical realm, but where the physical realm is obviously a very integral part of—is part and parcel to what my goals and agendas are. Because the conversation—because even posthumous recognition and realization become part of an extended conversation. It's religion. It's legally a religion, but it's not—and it's theological at its base, but it's not really concerned with afterlife or deity. It doesn't necessarily profess against it, but it's about what we do here on Earth, like, what we do. I talked about my parents, and my mother's relationship to agnosticism, and my father's atheism. And the Ethical Society teaches you that the only afterlife that we can really know about, for sure, is how we're remembered after we're gone. I question this idea, and I think about it a lot, about how I'm remembered. Legacy is really problematic for me, because I feel that legacy is one of the dynamics that focus around possession, acquisition, property, and then into the very dynamics of heteronormalcy that we—in other words, this idea of ownership. And you look at it in dynastic terms, where kingdoms, inheritance, all of these things, like, names, especially surnames. This whole idea of a surname, which is basically the indefinite, intergenerational, infinite possession of a male. You know, his name become his wife's name, and that name become the children's names, and those children become their children's names. And then there's property involved, and there's money involved. And I think as far as aesthetic legacy, I don't think it can or should be separated from these materialistic constructs. My values and my ideals, I believe in very strongly. I do, I think, have an embedded faith that there are things that exist beyond ourselves. But when I speak of ourselves in the plural, it kind of hints—more than hints, but deliberately references these ideas of Asian philosophy, indigenous philosophies, where we are all part of this single spirit.

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The Exorcist is one of, if not, THE most well-known horror film in the world, therefore,being the first shot, the audience will see it and be automatically familiarized with the genre and it’s conventions. In any effective horror, the narrative at least attempts to build character before the main events of the film, which is what I did, by showing Sam and Rae to have a jovial, yet caring relationship which the audience will likely empathize with. On par with other horrors, I subtly foreshadowed future events by having the characters cast large, heavy shadows on the wall behind them, this generates an atmosphere of mystery. This element of foreshadowing was continued in a later shot, when Sam is walking upstairs to retrieve the Ouija Board, the light from where he was coming is bright, whereas the light gradually dissolves to darkness further up the stairs, indicating that the Ouija Board is a source of evil and darkness. This is where there is a build up of fear and tension, only to be broken by a climax that is intentionally not scary. Challenging the form of usual horror openings, my opening uses a jump cut. A classic way of conveying fear and panic within horrors is through the use of close up shots of the subject’s face, often frozen in fear. I’ve adhered to this convention as it’s effective in scaring the audience as the close pseudo-proximity between Rae and the audience make them feel closer to the evil, therefore creating fear. I also developed this by cutting Rae off mid-gasp to add mystery to the narrative. This was inspired by James Wan’s use of the technique in Insidious (2010). Finally, after the events of the opening, the title of the film appears alongside eerie sounds to make it seem more frightening. She sits protected by Sam’s arm, along with a large cushion close to her face, to block her eyes from any unexpected scares. Sam stares deeply at the TV, fondly enjoying a personal favourite of his. Rae grabs a handful of popcorn, half of which she shovels into her mouth without a care, before holding the rest in front of Sam’s mouth, which he also gobbles care-free. They continue to watch the film, and upon seeing the Ouija board that the characters are using, Sam attempts to talk with a mouth, still, stuffed full of popcorn. RAE But I thought you didn’t believe in ghosts and shit. Sam winks at Rae with a cocky smile, to which Rae smiles back SAM Be right back.