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When the Night King looked at Bran-as-a-flock-of-crows, and then scattered them, the subtext is clear-- the Night King can still see Bran, even warged into a different species. Again, they haven't given us enough to make this out, so I feel this is sloppy, but at least some of the groundwork is there. Regardless, though I can't honestly imagine they'll use Viserion to brute force it down (if that were possible, why not just use the giants they already have), I think the wall coming down will be the final image. I'm not sure what else to say except that it necessitated such a long chain of terrible decisions, it is miraculous that it only cost the dragon (and nameless red shirts). I assumed the WW got the chains from somewhere like Hardhome, which I thought was a port, since they look like boat chains to me. And I thought Hardhome was pretty southern, so it shouldn't have been too far away. Who knows, though? As far as the island goes, wasn't the Night King standing on it when Bran flew over him a couple eps ago. That would imply that this was all relatively planned out. It's still kind of unfair, narratively, because we really have little knowledge what his abilities are. But I assume that, as a supernatural being, he has some array of them (e. . sensing when someone warged into a crow flies over him). While underwhelming, that's the only reason I can think of why the show runners would make the white walkers head toward Eastwatch as opposed to some other random castle or even castle Black.

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Reply Leave a Reply Cancel reply Your email address will not be published. If you know of a title that's missing from this list (even if it's not found on MyDramaList) please let me know, and I'll add it. The depiction of a gay African-American man in the hip hop genre has caused a hateful reaction for some watching the show. Notice how the quotation obscures who the subject of the first sentence is. But Eaton presents it as a bigoted remark about the character of Chinese people. Eaton claims Scruton was making anti-Semitic remarks and calling Jews the puppets of George Soros. Here is the relevant section of the speech on nationalism. People in these networks include many who are rightly suspicious of nationalism, regard nationalism as the major cause of the tragedy of Central Europe in the 20th century, and do not distinguish nationalism from the kind of national loyalty that I have defended in this talk. Moreover, as the world knows, indigenous anti-Semitism still plays a part in Hungarian society and politics, and presents an obstacle to the emergence of a shared national loyalty among ethnic Hungarians and Jews. He describes Scruton’s farm as having “the unintentionally comical name “Scrutopia. I can assure him, the comedy is intentional. Eaton used those civilized and liberal instincts against Scruton, dishonestly edited his remarks in order to smear Scruton as fearful and bigoted toward Chinese people in order to drum up a mini-Twitter outrage, and got him fired from an honorary position, in which he was advising the government on how to build more beautiful housing. Former c hancellor of the Exchequer, now editor of the Evening Standard, George Osborne. Buzzfeed UK ’s senior political correspondent, Alex Wickham.

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Consequently some notorious releases grew larger in the imagination than they might have otherwise, especially when their cryptic titles— A Clockwork Orange, Straw Dogs —gave no clue as to their content. Looming larger and darker than all of these was William Friedkin’s The Exorcist whose content was at least clear despite that vague poster design. The film arrived in Britain in March 1974 bearing a ferocious reputation thanks to tabloid reports of a cursed production and hysteria at US screenings. The film’s power has been significantly reduced since its release, not least because of its enormous success which gave us two sequels, a prequel that went through three directors (and ended up as two separate films), a reworked version of the original in 2001, and all the endless parodyings of Linda Blair’s torment. I hadn’t seen The Exorcist for many years, the last viewing being a shoddy VHS copy so it was good to see it again in a decent DVD print. I still find the film more admirable on a technical level than as a work of cinematic art: the story has always been a piece of Catholic propaganda—something that author William Peter Blatty freely admits—and even if I set aside my lapsed-Catholic prejudices I have a hard time taking seriously Blatty’s religious narrative. Friedkin is a very good thriller director but the tension sags in the first half of the film when the possessed (or is she? Regan is being hauled around various hospitals while Father Karras frets about his dying mother and his lapsed faith. Cobb—a pared-down thread from the novel—is completely superfluous. On the plus side, the acting is first-class, the almost wordless sequence in Iraq makes a tremendous opening, and the exorcism itself still packs a considerable punch not least because of Dick Smith’s remarkable makeup effects. The interviews are especially worthwhile being taken in part from back issues of Cinefantastique magazine: Friedkin and Blatty appear twice, there are talks with Dick Smith and Friedkin’s editor Bud Smith (no relation), and Paul Schrader discusses his troubled prequel, Dominion (2005). Successful films that spawn sequels often present challenges for critics when the later installments begin to deviate from the premise of the original. Part of the interest in Olson’s collection is seeing how the writers delve into the imperatives of Hollywood sequelitis for moments of value. The critical essays are thought-provoking without wandering into the quicksands of jargon-ridden academicism: Kendall Phillips examines the influence of The Exorcist on The Texas Chainsaw Massacre (1974), there’s a spirited attempt by James Kloda to defend John Boorman’s much-vilified The Exorcist II: The Heretic (1977), and James Marriott points out that horror films are a continuing source (however debased) of metaphysical speculation.