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But in most cases they have been omission from the show, rather than diverging plotlines. I think the show has revealed spoilers as to what will happen in the books. I think the shows writers have left some deaths suitably ambiguous so GRRM has enough time to get the next book out before Season 6 starts. maybe. Although it's be common for the series to kill characters that are alive in the books, it strikes me as a little bit odd for that to happen with Myrcella. As others have pointed out, Cersei would be wild with rage. It would completely jeopardize any peace with Dorne. They have never shied away from showing major character's deaths. I remember thinking at the time (before I had read the books) that there was no way they had killed off the main character at that stage, but little did I know. There was that one guy with no legs left, but bolton took care of him.

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This movie isn’t ashamed, and that’s why it had such an impact. But its commitment to them and its eloquence in explaining them elevate this cartoon to the highest echelons of superhero-movie achievement. It did something no movie had ever done before: It wove together disparate characters and stories into a coherent capstone narrative that was something greater and more exhilarating than what had come before. Joss Whedon’s primary-colored epic combines an admiration for elbow-greased American know-how with an exuberant embrace of sci-fi swashbuckling. Its dialogue pops, its comedy is lithe, its character beats hit hard (“I’m always angry”), its pace never drags, and it leaves you begging for more time with the titular team. No one loves superheroes more than Whedon (let us never forget that Buffy the Vampire Slayer is still the best live-action superhero TV show of all time), and there’s never been a more pure expression of love for them than this film. Sure, there were a handful of good ones, even very good ones, as you can see on this list. But they never quite re-created that precise mix of awkward charm, moral burden, and primary-color adventurism that had powered Spidey’s best stories since his 1962 creation at the hands of Stan Lee and Steve Ditko. Thankfully, that drought ended with the advent of the computer-animated Spider-Man: Into the Spider-Verse. A recurring motif in the film is the notion of the leap of faith (the flick ain’t quite Kierkegaard, but it’ll do), and it turns out that what the franchise needed was to take the leap of swapping out archetypal white boy Peter Parker for Afro-Latino Miles Morales as the protagonist.


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There’s no better way to end the season than with a touching monologue from Maggie that explains the bond of the survivors and how they got to where they are today; “Glenn made the decision, I was just following his lead. . An intricate plot by Richard leaves young Benjamin dead at the hands of “rat-faced prick” Jared; this loss flips a switch in Morgan’s head and reverts him back to “clear” mode where his mission is solely to kill enemies. Long gone are the days of his “all life is precious” mantra when he strangles Richard to death to get the Kingdom back on the good side of the Saviors. Not only is the acting truly magnificent, specifically from Lennie James and Karl Makinen, but the use of music adds to the devastating sense of dread that infects the Kingdom. As Rick, Carl and Michonne head to King County to collect some weapons for the fight against Woodbury, there is a completely unexpected reunion between the two post-apocalyptic friends. There’s plenty of catching up to do as Rick learns that Duane died at some point, causing Morgan to go a bit crazy; the dialogue between Rick and Morgan is powerful and emotional. Morgan’s “I see red” monologue is quite possibly the strongest performance in the series to date with James knocking it out of the park (he should have gotten a guest-star Emmy nomination). The bond forged between Carl and Michonne is also noteworthy as it is the moment that they come to accept each other and become friends. While honoring its comic origins, this torturous hour leaves the characters and viewers absolutely dead on the inside.


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I will be comparing the ideas, whilst mainlyfocusing on my personal favorites. A tale of two teenage sisters, their very expendable friends and the creepy board game that just won’t leave them alone, this silly but straight-faced supernatural thriller manages to elicit an occasional shudder in between cheap jolts and false scares, emerging as a feat of competent direction (by debuting helmer Stiles White) over derivative scripting (by White and writing partner Juliet Snowden). Friendly box office spirits are already smiling upon Universal’s Oct. 24 release, and should continue to hover at least through Halloween weekend. But as anyone who’s seen “The Exorcist,” the “Witchboard” movies or any number of other occult chillers could tell you, Ouija is a game you play at your peril — a lesson that the teenage Debbie (Shelley Hennig) is destined to learn the hard way. After carelessly engaging in a solo session with the board, which is apparently about as smart as talking about Fight Club, she goes into a weird trance and hangs herself with a string of Christmas lights. Far from seeming efficient, the storytelling merely feels sluggish and noncommittal; there’s so little in the way of connective tissue, it’s more jarring than it should be when the characters are forced to acknowledge casualty after casualty (“I miss them all the time,” says one, none too convincingly), or when Laine’s grandmother (Vivis) periodically emerges from nowhere to issue dire warnings about contacting the dead. Still, White, a longtime special-effects maven before he and Snowden shifted into screenwriting, demonstrates a reasonable grasp of how to use silence and stillness to build tension and atmosphere, and every so often he strikes an effective note of dread — sometimes even in broad daylight, where a simple bike ride through an empty tunnel can raise a surprising amount of gooseflesh. Ably stealing her two scenes as a wheelchair-bound mental patient with some unexpected advice for Laine, Lin Shaye (a fixture of the “Insidious” horror franchise) achieves something the rest of “Ouija” only intermittently manages, turning cliches into horror-movie gold. Produced by Michael Bay, Andrew Form, Brad Fuller, Jason Blum, Bennett Schneir.


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had enough of my own that I needed to get out of that business. Before I walked away from this lifestyle Ghost hunting for me was a lot less of finding evidence and more of helping spirit cross over. It pleases me to no end to see that there are groups out there that use the same type of practices that I did. I used a very powerful psychic in most of my investigations. Hunting for spirit without a psychic can be down right boring. Might as well take advantage of those that are more in tune with that type of energy than sitting around asking for someone to show themselves. More importantly I was pleased to see that you also make an effort to actually help people move on. That's awesome, because most of the time spirit good or bad can move on. It's all in their head. t's all manifest of their minds filled with fear and doubt, remorse, guilt etc.


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