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Busy businessman Marshall (Judge Reinhold) and his son, Charlie (Fred Savage). How They Swapped: By accidentally coming into contact with a magical stolen skull while wishing they could swap bodies. Because thats how all frustrated parents and children deal with their problems, no. Consequences: Charlie almost loses his dads job for him; his dad gets him in trouble with his mum, and then gets him kidnapped. The magic skull gets it all sorted out in the end though. 16. The Change-Up (2011) Whos Swapping. Best buddies Dave (Jason Bateman) and Mitch (Ryan Reynolds). Because who wouldnt wanna steal Ryan Reynolds body. How They Swapped: By, um, peeing in a magic fountain and wishing they could have one anothers lives. Consequences: Mitch-as-Dave nearly destroys an important business deal, while Dave-as-Mitch gets an ill-advised tattoo. But as per, it all ends happily and no-one is permanently scarred by their swap. Except Mitch, whos stuck with his I love Dave tattoo. 15. Childs Play (1988) Whos Swapping. Bodyswapping was everywhere in the 80s, even in horror movies. Here, serial killer Charles Lee Ray (Brad Dourif) manages to swap bodies with a Good Guy doll. How They Swapped: A voodoo ritual lets Ray pop out his soul and stick it in the nearest available empty vessel, a doll. If you wanted to be pedantic, its not quite a swap, since the doll didnt have a mind or soul to swap with, and Rays body ends up dead, but he definitely jumps bodies. Consequences: An evil, unstoppable doll goes on a killing spree, and a whole new horror franchise is born.

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Just like you, I've not seen anyone wearing it, but unlike Donald Trump, Game of Thrones is not a regional phenomenon. I think it's the types of merch the shows' different genres lend themselves too more than anything. Or at least, how little explicitly Game of Thrones-y stuff I saw. (Most of the stuff is implicitly Game of Thrones-y. But yeah, I didn't even think of action figures and bobbleheads and the things people collect. Like, Captain America shields, like the Superman S. Just icons that people like on shirts, like an alligator or polo player or something. All but 2 deaths were due to injury, burns, or poisoning, with the majority being caused by assault (63. %) or operations of war (24. %). The survival time ranged from 11 s to 57 h and 15 min, with the median survival time estimated to be 28 h and 48 min. The probability of surviving at least 1 h in the show was 0. 6 (95% CI 0. 2 to 0. 9). The analyses revealed worse survival for characters who were male (P. The mortality risk is high among characters in Game of Thrones. The probability of dying within the first hour after first appearing on screen was about 14%. By the end of the seventh season, more than half of the important characters had died, with violent deaths being the most common by far. The probability of survival was worse for characters who were male or lowborn, who had not switched allegiance during the show, and who featured more prominently.

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Under The Shadow, the first feature by British-Iranian director Babak Anvari, premiered to rave reviews at this year’s Sundance Film Festival, where critics compared it to such new classics as The Devil’s Backbone and The Babadook. But Anvari’s influences reach back further, to a 1960s British chiller that blurred the line separating psychological and supernatural horror. They’re both sort of the grandfathers of the “are the ghosts real or in the imagination of these characters? There’s a little bit of that in your film as well. BA: Of course. Basically The Innocents and The Haunting were huge inspirations for me when I was working on Under The Shadow because of that and also because my stories are very gothic stories, but in a different setting. And also, like you said, it’s that classical horror that sort of focuses on repression and how it could manifest itself. That was a good inspiration for me, a reference point. And I’m a big fan of the book that it’s based on as well, The Turn Of The Screw by Henry James. You can never tell if she’s imagining it or if the ghosts are real. AVC: It might be easier on the page to keep that ambiguity up. On screen, you have to be very careful, because it can come across as cheating if you’re being inconsistent about which of the characters are seeing what. It’s tricky, but The Innocents does it really well. One of my favorite moments is when the main character, played by Deborah Kerr, is on the boat and she’s on the riverbank, and there’s, like, a figure sitting. But it’s done so brilliantly because you cannot tell if it’s a lens flare or if it’s a figure. Literally using cinema techniques, Jack Clayton tried to recreate that ambiguity, which is fantastic. AVC: One of the ways it’s influenced horror movies is the trope of the figure in the far distance and using deep focus photography to put something really far back in the frame. That’s such a crucial part of horror-movie language. BA: Exactly. Have you ever seen the BBC production of Whistle And I’ll Come To You.

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