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I so want Bran to return south and put her in her place. He didn’t decide to move out until the letter from Ramsay came. I just wish he wasn’t so trusting, blind and withdrawn because the plot calls for it. Now if they don’t dismiss it immediately as an attack from rebellious northeners they will send an scouting party to figure out what is going on, and by the time they figure out what is truly going the WW will have reached Harenhal. Randyll’s dismissal of Sam is indicative of a very stubborn person with limited analytical skills so who cares what he thinks of Sam. Sam is simply a much better person and perhaps more valuable to the future of Westeros than his dad will ever be. Unfortunatelly men like him don’t change their attitudes towards those they deem unworthy, even if the later performs miraculous deeds,it has to do with their own insecurities, so although your dream is pretty amazing I don’t think it will actually happen:(. The guy is still in shock after having been murdered by the men he thought were his brothers, he may also be suffering from some sort of PTSD. It was a traumatic event afterall,so having him take lead at this point would be pretty absurd. Also when it comes to politics with highborns Davos and Sansa -to a lesser degree- are more experienced so it would be expected for him to take the backseat and have them do the talking. I always thought King Crow meant not a king but the king. That’s not to say that there won’t be intermittent stops. But I would rather the North and Winterfell return to the Starks, where it should be. He was over his dreams of suntanning in episode 5 during the strategy meeting. And given where things are heading, I don’t see any reason for Olenna to show up in Dorne. He needs character witnesses and testimonie from others to back up his “worth”. Besides, during the strategy meeting you mentioned, he looked a lot less happy than Sansa, so I don’t think his dreams of peace and quiet will ever be over.

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In that context, the most contradictory part ist Jon Snow’s parentage (also discussed a hundred times). Who cares, that Jon Snow’s mother was Lyanna Stark (and his father maybe a Targaryen), if his character is gone for good (again as Jon Snow or Jon Stark or whatever). Because this would not be good story telling (even though Oly delivered that final stab). That way, they could have established his death or rather his permanent departure from Thrones by showing his body being burned (or something like that) in Episode 510. The argument, that they wanted it to remain uncertain for cliffhanger-purposes and to build up suspense for the next season has to be ruled out because already in july 2015 almost everybody on the show (esp. Kit might be the silent, melancholic type, it doesn’t mean that he’s unhappy. Remember that he says almost nothing about his relationship with Rose. Yes, it can mean that’s an on and off relationship, but he simply could choose not to speak about his personal life willingly. More than that, it’s a lie stipulated in his contract. Alternatively, they could fight the Boltons to avenge Jon in some way. Plus, from most of what I’ve heard, it’s Sansa, not Jon, who rallies the northern lords, including Mormonts, to the cause, so I’m not sure how Jon fits into the story. It just seems a tragedy that most of the wildlings are likely to be wiped out in the process, cos they don’t have armour, training or discipline. I looked up Burn Gorman on Wikipedia and was surprised to see he was born in Hollywood (apparently his father was a lecturer at UCLA at the time). As GuestComment mentioned, I really think that a death for good would be part of episode 9 of the fifth series. Honestly, after the last three seasons, I expected a lighter one for Theon. Yara may manipulate him and Euron is a crazy arsehole, but neither of them are Ramsay. There’s more mystery left about her journey in season 6 and beyond.

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Hot Pie must have been incredibly disappointed that his old friend only had a minute and a half to spend with him while stuffing her face like she hadn't eaten in days despite a full bag of coin. She also didn't think to ask a single question about him or Gendry. No wonder Nymeria the cgi freak wanted nothing to do with her. Cersei is poised to put up more of a fight than expected, which overall I approve of. He even pointed out how impossible this is, and while the giant crossbow is scary if you love dragons, it won't protect an army against three of them. Dany is going to burn them all, even if she loses a dragon in the process. While the Others are marching on Eastwatch, Jon is gonna make a quick run to DS to see if they can set up some mines in the rival Queen's castle. Uh huh, sure. LF thinks it's a good idea to interrupt Jon in his grief and tell him he wants Sansa. Does he think Jon has the power to force Sansa into a marriage alliance with the. If anything Sansa should marry Sweetrobin if they want the Vale army. Even Dany and Varys was weak, IMO, bc it exposed Varys as a fraud. Dany points out that Varys supported her brother, who would have been a terrible king- SO much worse than Robert, and he had no real response to this. In addition, by supporting her marriage to Drogo, Varys also set the stage for a Dothraki invasion of Westeros - how is this better for the people than having Robert in charge. All men must bow to him in the end, no matter if they worship the Seven or the Lord of Light, the Moon Mother or the Drowned God or the Great Shepherd. Someone said he was playing hard to get. Could be.

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The only question was his skill set. “You passed a lot of exams inside, very impressive. I might start with the Community Punishment department, get you some unpaid work experience. If we can build your CV, just get you a few hours’ work each week until you get settled. How does that sound? “I’d like that. He smiled for the first time, and she saw that his adult teeth hadn’t grown straight and weren’t gleaming, prison not being known as a haven for excellent dentistry, but his smile was broad and genuine. “It would be really good to get a job. Thanks, Cate. “Thank me when I’ve found something. In the meantime you just get used to Ipswich, okay. And no contact with anyone from Hull, no family or friends. There are people out there who would hurt you given half a chance. You can’t risk anyone finding you, especially now when your case is bound to hit the press. “Why? “Because you’re free, Ben. And that is headline news.

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. . (rewatch) It’s Christmas in Canada Song of the week. Close the world. ? ? ? u? O. t o B e c o n t i n u e d. If you think Swan Lake is much better, I'll certainly watch it. I just keep re-posting this picture every time this comes up. And I chose it for the first World Cup when I ran Poland, after all. Not my thing. So if you play the song to me next month, I wouldn't even connect it to the movie anymore. Some more belated catching up on 2017 for me; just a few more to cross off my list and I'll be fairly satisfied for a while. The Dark Corner (1946) - Another in a seemingly endless supply of classic era Film Noir's I continue to come across, but I ain't complaining.

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Is there even a difference between these two ideas. Every shot of Collette’s artist painstakingly creating miniature dioramas feels like a threat, every awkward conversation between the two teenagers of the family leaves a sickening feeling in the pit of your stomach, but you can’t put your finger on the reason. Read more: Intelligent, emotional, and terrifying, Hereditary is near-perfect horror. With a little more restraint, it would have been flawless 7. Halloween (1978) The movie: Who'd have thought an old Star Trek mask could be so terrifying. Director John Carpenter created a modern classic when he gave his villain a blank white mask a Halloween mask of William Shatner's face to wear while stalking babysitters around the fictional town of Haddonfield, Illinois. The movie created another icon, too, in Jamie-Leigh Curtis, who'd become both a scream queen in her own right, and the template for all final girls to follow. Why it's scary: Pretty much the original stalk-and-slash, Halloween set standards that have rarely been matched. Carpenter composes his shots to keep you constantly guessing, blending both claustrophobia and fearful exposure, often at the same time, to create a deeply uneasy sense of vulnerability wherever you are and whatever is happening. There is a reason that pounding doom-synth is still the soundtrack for oppressive horror, and Halloween is that reason. Read more: The best Halloween movies rewatched, reviewed, and ranked 6. The Texas Chain Saw Massacre (1974) The movie: Some movie titles are vague, letting you gradually work out their meaning as the narrative slowly unfurls in front of your eyes like a delicate flower in tea. It’s titular weapon needs to be sharp but The Texas Chainsaw Massacre is a blunt instrument of horror. What they find in one house when they innocently enter looking for gas is such death and depravity that the movie is still, decades on, a disturbing endurance test. Why it’s scary: The funny - and there is humour here, it’s just not there on the first watch - thing about the Texas Chainsaw Massacre is that there’s actually very little blood. There’s the iconic Leatherface, inspired by Ed Gein in his fleshy face covering, and a death scene involving a hook that will make you look down and check your body is still there, but very little viscera. Gore is something that your brain mentally splashes everywhere to try and deal with the horror on screen here, to cope with the screams of pure terror and iconic disturbing soundtrack.

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Wilfred Buckland, who toured with Post in the legitimate, is the art director. Mrs. Naylor is the only daughter of Mr. and Mrs. 8. R, BishOp of Huntington, W. Va. and graduated this year from Marshall College. Stuart Blackton protho Harding theatres, Liberty and duction to be made in England. The first few weeks of warm which Hodolph Valentino appeared in the support of the star and he weather have come up to all expectations, and last week proved no was billed equally with her. Harry that of the former caused an adver- Davis, pioneer showman here, who tising row for a few days. Advertising of Rodolph Valentino as one of the stars credited with the pulling. Picture business at the theatres here is seemingly going to continue at its present pace, despite the heroic efforts exhibitors are making to stimulate It. Seats 2,300. Scale, mats. 35; eves. 55.

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Therefore, content is about proliferation of information and re-shuffling of ideas, not about authorship or ownership. So a moral license for pupils and students to download their school assignments from online sources. Or symptomatic of much larger economic issues around counterfeiting, piracy and intellectual property guaranteed to keep the lawyers busy, perplexing the world of information commerce and the new creative classes for at least a few years yet. They have created and redefined new forms of interaction, modifying everyday cultural practices and transforming spaces. I am interested in exploring in the light of a phenomenological thinking the screen experience. Objects and body are equal participants in the making of meaning and under the actual circumstances; the mobile screens are not the exception. Nowadays, it is through our screens (especially with iPhones and iPads) where we are living “the invisible life, the invisible community, the invisible other, and the invisible culture” where we elaborate a phenomenology of the other world. The body is my means of entering into relation with the screen, is my embodied perception that reaches a reality beyond the reversibility of the screen. It is my body’s capacity to be both living and sensible. The screen is a more intimate than private space, as some of our secrets and notes about our social world are keeping in there. Screen is a perceptual space not only by the attachment to personal and emotional significances; the screen implies remembrances and affections that are very much relevant to the individual. When seeing the screen, one is in one's own intimate space, but manipulating the screen in the presence of others creates a certain social absence with little room for social encounters. The user may be physically present, but the mental orientation towards someone absent is unseen. Users often are renegotiating their presence in their private and public space. Being on the screen is a way of being in the world, it is a mode of being in relation with the other, but is the embodied perception of the screen that opens up a world we spontaneously and without doubt consider real. Merleau-Ponty refers to this as an experience that is “engaged to the other in such a way that we are never simply a disembodied onlooker or transcendental consciousness”. The object can be seen only if there is a seer, but the seer can see only because it can be seen, is itself visible.

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