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Harvey was the debut presentation for the second season of The DuPont Show of the Month. The Mary Chase classic about the boozer who insists that he’s accompanied everywhere by the large white rabbit of the title starred Art Carney as Elwood P. Dowd with Marion Lorne, Loring Smith, Elizabeth Montgomery, Fred Gwynn, Larry Blyden, and Ruth White. Henry’s yuletide chestnut The Gift of the Magi starred Sally Ann Howes, Gordon MacRae, and Beatrice Arthur. Meet Me in St. Louis was a lively musical adapted from the Sally Benson novel starring Jeanne Crain, Jane Powell, Myrna Loy, Walter Pidgeon, Lois Nettleton, Patty Duke, and Tab Hunter. Schaefer and Hallmark reprised both Macbeth and Cradle Song in 1960, adding Helen Hayes to the cast of the latter. They also presented Twelfth Night and Captain Brassbound’s Conversion with Greer Garson, Christopher Plummer, and Robert Redford. Lee play derived from James Hilton’s novel, Lost Horizon. Richard Basehart and Marisa Pavan starred with Claude Rains, Gene Nelson, and Alice Ghostley. In 1961, Schaefer directed Jean Anouilh’s Time Remembered with Plummer and Edith Evans, Give Us Barabbas. For Arsenic and Old Lace, Schaefer cast Dorothy Stickney and Mildred Natwick as the two murderous old ladies, with Tony Randell and Boris Karloff. John Patrick’s service comedy set on postwar Okinawa, Teahouse of the August Moon, which Schaefer and Evans produced on Broadway, used the three principals from that stage show: John Forsyth, Paul Ford, and David Wayne, as well as Miyoshi Umeki.

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A pair of heavily made up blue eyes painted at the rear of the vehicle is significant at many levels. It is blue signifying the much desired white woman fantasy complete with all its loose morality associations. The eyes seem to guard the rear alluding somewhere to the vulnerability experienced on the road. Comforting softness of this world is further accentuated by velvet cushions and soft toys placed on the parcel tray, looking out at the world through the rear windscreen as though mocking the sweat, dust and grime of the road. It mimics the untouched innocence and hyperbolic snugness of the nursery. And the troubled co existence of the classes and masses that have been denied transition continues. Perhaps it is the perpetually sunny sky (Street View vehicles cannot operate in the rain) or maybe the navigation commands that never quite feel intuitive. Google Street View makes no effort to replicate the motion of how we typically experience the city — on foot or by car. A mouse click to the arrows on the ground jerks you forward at a distance far longer than the average stride. With a gravity of its own, impossible weather, and a population of spectral faceless beings — blurred to protect their identities — it is not a world anyone would ever like to live inside. The woman — Marie — has just removed a mask that disguised her to look like the other blurry-face people outside. Google Street View is never named, but director Carl Erik Rinsch (soon to make his feature film debut with 47 Ronin ) exploits all its familiar quirks. Giant red pins that look like Google Map markers come crashing from the sky.

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I used to re-read the books every year before the TV series (2012, 2013, 2014). But with TV series passing by, GoT Wikia becoming more and more subjective, biased towards the books and passive-agressive towards the show, and pointless wait for the next book, I found that my interest in the books is slowly fading, so I haven’t re-read them before season 5 in 2015. Trust me, I actually tried to read them again a couple days ago but I simply couldn’t do it. That is, until I began rewatching the series DVD (starting at season 2). The new season fits perfectly with what went before. I tried catching up with all the comments but there’s too many of them, so I read the most interesting looking threads and just dived straight back in here. So expect me to repeat things others have already discussed to death as if I’m the first one to think of it. And for anyone from the UK of a certain age: remember Game of Thrones is for life, not just the in-season. She’s used guerrilla tactics and she’s staged coups, instead. f Cersai has turned KL into a scene from Apocalypse Now, then the Flea Bottom residents, especially,(who threw their dung at her in the streets) will be dying for a savior; because Cersai doesn’t forget, or forgive. ’ve been wondering too about Qyburn’s potential in making more Mountains out of the dead. The way they are all standing at attention: The Unsullied are at attention. Dany and her team are standing on deck in a box formation, with Dany wearing her dragon dress.

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Mandela and DeKlerk delineated the events that led up to black South African political activist Nelson Mandela’s 1990 release after 27 years in prison by South African President F. W. DeKlerk. Their battle of ideology and wills was given some of its power by the casting of Sidney Poitier and Michael Caine. The two had previously co-starred in one of the first films to call attention to apartheid, Ralph Nelson’s The Wilby Conspiracy (1975). This time their roles are central to the victory over apartheid, when DeKlerk announced before Parliament the legalization of the African National Congress and the release of Mandela. Sargent filmed in Johannesburg and other South African locations. Caine was nominated for a Golden Globe and Poitier for a Screen Actors Guild Award. John Wesley wrote the script, and Tina Lifford co-starred as Winnie Mandela. David Feldshuh’s play, Miss Evers’ Boys, concerned a 1932 U. . Government experiment conducted at Tuskegee, Alabama, in which 412 black men, mostly Macon County sharecroppers, were intentionally infected with syphilis to determine whether their reactions to the disease were any different than those of whites. An antidote existed, but the men were never treated.

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