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“At a certain age it’s hard to recall. Do you remember the way you smirked at me when my grandson and granddaughter were dragged off to their cells? I do. I’ll never forget it. Cersei tries another tactic. She agrees that Olenna loves her grandchildren, just like Cersei loves her own children. “It’s the only truth I know,” she says. She’s leaving King’s Landing before that “shoeless zealot” throws her into a cell, and warns Cersei that if she’s half as smart as she thinks she is, she’ll do the same. But Olenna says her brother is gone, her family has abandoned her, her people hate her, her enemies are all around her. “You’ve lost, Cersei. But now Olenna has a new purpose: she knows her granddaughter is planning something, and she knows there will be an end to this torment. She’s received Margaery’s warning, and is leaving, knowing that Cersei will NOT win. Cersei brought the High Sparrow to King’s Landing for the sole purpose of landing Margaery and Loras in jail, and ridding herself of both of them. Now she’s stuck having to fight with the Tyrells to get them out because she must save her son and get the High Sparrow out of the city. But Highgarden is no longer going to be played that way. Two episodes ago, Cersei entered the High Council with her brother and the Mountain, and convinced the Tyrells to join forces with her. That backfired spectacularly when Margaery had other plans, and pulled Tommen over to the side of the High Sparrow whilst planning her own escape from him.

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I watched it twice just to figure out what those things were. The score is pretty good if you like synthesizers (and obviously I do). It seems to be set in a place out of time that is somehow this year and 30 years ago (so, Detroit). I can tell that Mitchell is a competent filmmaker and was trying to capture adolescence when sexuality is budding, and generally make a film FOR horror fans. I didn't find it horrifying, just pastiche to other good movies. And a jump scare (there are 4) isn't scary, it is insulting and lazy. The difference between this and something it is paying homage to is that, for instance, John Carpenter always seemed to be in on the joke, laughing with the audience. There are scenes in this movie that I'm 99% certain were unintentionally funny because they were soooo bad (like the toothless trucker skank who pees herself). Evidently, It is physical because It has to break windows and open doors (or wait for someone to open them) to get to you. And evidently, It is only invisible because a guy who can't see It hit It with a chair and shot It in the head. So, if you were to fly to Australia, would It have to walk through the ocean to get to you, or would It take a boat. Or would It just appear somewhere on dry land again. And if It is so persistent, why hasn't It killed everyone in the line of sexual partners already. Wouldn't It easily catch up to them while sleeping. Many of these questions were never meant to be answered. But being confused isn't scary to me, just annoying. When I would finally stop caring about It, I would just be bored, like the actors seemed to be when they weren't shouting, running away, screwing or doing something stupid.

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