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She weighed only two pounds when she was born in 1921, a time when premature babies did not survive. They thought Phyllis was dead at birth and laid her on a table. Her Norwegian grandmother noticed the baby was moving. Mother and grandmother took a clothes basket, tucked blankets around warm bricks and nestled Phyllis inside near a pot-bellied stove. She went to nursing school right after graduation, then joined the nursing corps. Davis returned from the war just in time for the birth of their first son, Victor, in North Dakota, where Phyllis also had been born. He saved money to build them a house while they lived with his parents. Phyllis went to work at the veteran’s hospital in Gulfport to pay for the furniture. Then she stayed home with her children. James Jr. followed Victor. Phyllis loved her boys, but she longed for a daughter. She was surprised when the doctor announced, “You got your girl. Davis insisted they name the child Phyllis, too, with the middle name Kay in honor of her mom’s maiden name. He said their three children came along almost exactly 35 months apart. Phyllis Kay moved to Houston as a young woman, but she talked to her mother on the phone every day — sometimes several times a day. Phyllis Kay insisted on marrying on her mother’s birthday, August 22. Love, your daughter Phyllis Kay. The two loved to travel together.

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When the comedian took over the reins at “Late Night” two years ago, he was seen as a solid, if not particularly groundbreaking, choice for the job. A well-liked “SNL” veteran, he was comfortable telling timely jokes from behind a desk, but he was also the umpteenth white, male host in the deeply homogeneous world of late night. His pointed critiques contrast starkly with the get-along approach favored by his 30 Rock neighbor and former “SNL” alum Jimmy Fallon, whose jovial mussing of Trump’s hair has, to some more reactionary critics, made him late night’s answer to Neville Chamberlain. Meyers has softened the smart alecky “Really! persona he deployed on “Weekend Update” in favor of a more earnest demeanor. On Wednesday’s show, a visibly emotional Meyers presented himself as a late-night ally to groups who feel threatened by Trump. “As a white man, I also know that any emotions are likely a fraction of those being felt by the LGBT community, African Americans, Hispanic Americans, Muslim Americans, any number of the immigrant communities so vital to our country,” he said. “So hopefully, the Trump administration and Trump supporters will be compassionate to them. Because they need your compassion. He also tearfully acknowledged the historical milestone that many had hoped to reach with a Clinton victory, particularly his mother: “She was really excited yesterday. And I was really sad for her. And he extended an olive branch to Trump supporters, saying he hoped the president-elect would live up to their expectations. The theme of solidarity continued in a bit Thursday, with “Late Night” writer Amber Ruffin addressing white Clinton voters dismayed by their fellow Americans’ support for Trump. “That feeling you’re feeling right now. A lot changed between the recording and release of “Out of Time. The Rodney King video surfaced, Nirvana shopped around its “Nevermind” demos and work began on the web. Does it signify a specific time for you? “Out of Time” was the last record I wrote without a computer; I used a typewriter. I could have a great handwriting day and fool myself into thinking something was a great lyric, or I could discard a great lyric because it was a bad handwriting day.

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When Elizabeth tries to interrupt he holds her at bay with an outstretched hand, and says “Please. This repeats over and over: anything Elizabeth tries to say, Kibner interrupts with “Please, Please! and continues to spout his platitudes to the doomed woman. She’s powerless to resist; Kibner’s ego is so huge it will not allow any other outcome than for her to be soothed by his commanding aura, and see things his way. It’s a scary scene because unlike Kaufman and Miles in the original, who were fighting to maintain the democratically elected illusion of social reality, here in the remake’s post-modern San Francisco there is no longer any such thing. The doors of perception have been kicked open; the demons are out; it's the wild west all over again--only on an intra-psychic level--and Kibner has elected himself sheriff. In telephone terms, Miles and Kaufman were Bell Telephone repair people. Kibner is an MCI representative in a post-monopoly era, using his most authoritative Spock voice to preach the gospel of the lowest bidder. Reading Finney’s book now, when a character expresses concern that her uncle has “no emotion—none—only the pretense of it” (p. 21), it seems almost quaint. The prognosis would merely be to cut his Xanax prescription to half, or otherwise adjust his meds. Even by 1956 and Siegel’s film, emotion was already draining—like cheap dye—out of the human fabric. By the time Antonioni’s BLOW UP came around in 1967, sincerity was synonymous with square. By 1978 even the squares knew better than to act sincere, so sincerity was almost cool again. Thus, Kibner’s question about the pod panic isn’t whether people are faking being themselves—that’s a given--but why is everyone suddenly so aware of it. He didn't get to ride the cultural zeitgeist by not chasing every new spontaneously occurring group mind schizmatic rhizome like some gonzo wack-a-mole barber. In these vortexes of the real, not just the plot, but the hero of the story himself, is likely to disappear halfway through (also in fiction, as in Pynchon's Gravity's Rainbow ). He can't stop calling up governmental agencies even after he knows they're pods; it's an addiction. Even after the almighty Kibner has decided to believe Matthew about the pods and to do all he can, Mark still insists on calling reporters, FBI agents, and governmental watchdogs for help.

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Otherwise this will lead to new theories about his parentage. My guess for Davos is that he and Jon will become a tag team going ahead, that he will go on to be Jon’s biggest adviser, sort of like how Dany has Tyrion. I feel Jon has inherited both Davos and Mel from Stannis and all the problems they bring along. As for who will be LC when the Wall falls, no idea, it could be Davos like you say. I definitely don’t see Alliser Thorne lasting very long after Jon’s resurrection. Basically meaning that he has renounced his old ways of violence. His back moves up about a centimeter and the lighting on his fur shifts in a way consistent with him breathing and his chest expanding. In the high rez versions it is really clear to me. Or is it just some sort of a blanket over the horse, flapping in the wind. Also, the rider seems to be wearing a hood, or perhaps have long hair, and it seems that he could be wearing some fur around his shoulders. The wight seems to be wearing wildling-type attire, but he could be a very recent wight. It could be gone by then (they’re down to what, less than 100 men now? so no need for LC. So now, some think she might get sacrificed to raise Jon and think Davos might do it. I beleivr then, and still think now that she will possibly perform that, or at least some kind of ritual, on herself. This could be why she has such a pained expression in the photo. Dany’s monologue to drogon says drogon took her far away (must be near vaes dothrak somehow). Drogon carried her there. They FLEW.

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More than ever, they need to be united and well coordinated if they want to win against the Boltons. I’m hoping Sansa would share this with Jon before they march to WF. Davos, who is not from the north, knows the place better than the natives (including Roose who told Ramsay you can’t rule the north without the Starks). I find it very hard to believe that she is this strategic, intelligent girl, by no means am I saying I am right or wrong but to me she is a bore, sorry, and I could not careless about her storyline. I’m sure he’d be so giddy once he received that letter. I don’t think a dragon wings can do that when they are landing. At the rate things are going though, I’d be happy to see her alive and sailing for Westeros by ep10. We’ve already seen Jaqen has the ability to appear as Arya in the finale last season. If I’m wrong and the writers actually had Arya standing around, unsuspecting and unarmed, that would be very disappointing. It’s not that these other lords love the Starks because tradition dictate they should. They respected Ned and his ancestors not simply out of tradition or because they were perceived to be greater or closer to God(s) or whatever. Could it be that obvious, or is there a twist here. Maybe she sent it directly to her cousin, Lord Robin. Probably won’t be for the BF because Brienne brought the letter herself (the preview shows her handing him a letter). LF will read anything that comes to Robin and as his advisor and uncle. So it has to be Littlefinger and he controls Vale army. I got the sense that she was writing to someone that she didn’t know well. Also, the people didn’t look like they were seeing a girl wounded. They looked more like they were seeing a girl acting weird.

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As a lover of the horror genre, I don’t want to be a shallow viewer; I like knowing the history behind certain directors’ choices and the legacy behind classic monsters. And not knowing how We Are Still Here pays homage to Fulci and older cult films, I clearly missed out on something. More importantly, as NPR’s Linda Holmes once pointed out, you can only consume so much, and that means you have to make choices. This time, my choice has meant that I don’t appreciate We Are Still Here, perhaps, as I should have. There’s an alternate theory, a sort of opposite to the domino theory of reality, that I would like to put forth: the crescendo theory of unreality. Most horror movies that strive to maintain a sense of verisimilitude operate on this theory. Found footage horror films, in particular, rely upon the crescendo in order to create a plausibly real enough situation that both the viewer and the characters on screen find it easy — and realistic — to believe in the otherwise totally implausible situation that’s occurring. Start with the simple shit, though, and gradually get crazier, and people will follow right along. There are lots of great examples of this method, but Paranormal Activity provides a classic demonstration. Katie claims to have been bothered by strange occurrences — whispering voices, flickering lights — and a psychic who pays the couple a visit explains to them that what they’re experiencing is probably demonic activity, not a haunting. But all of this is talk, and talk is cheap, and easily disregarded. The director’s not yet asking you to believe something you’re seeing with your own eyes, and so as a viewer, it’s easy to either take what’s said at face value, or dismiss it. But director Oren Peli knows you can’t just throw a demon onto the screen or start dragging characters out of bed right off the bat. It’s too much to ask a viewer to jump with both feet into that unreality right away. Instead, Micah and Katie’s first night is fairly uneventful, and subsequent nights reveal only minor disturbances: There are strange noises, the door opens and closes by itself. Katie and Micah are weirded out, but not terrified, and the audience feels the same. In the world of the movie, the psychic has warned Micah, especially, that antagonizing the demon will only make it more active. Micah being Micah, he pretty much immediately starts taunting the demon and fooling around with a friend's Ouija board. So not only does Peli gradually intensify the strange happenings, he gives the audience a reason for why things start to escalate, thus easing us into belief in the paranormal.

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