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It’s too bad the DC movies are so relentlessly grim. He was doing a great Batman villain for the whole season. Finding the remains of the farmer and his daughter was heartbreaking. The “whingeing” conversation with G. ndry. Failing to kill the zombie bear. The “Brienne of fucking Tarth” conversation with Tormund. The end of Petyr Baelish and his unreliable accent, no matter how we got there. I didn’t even mind losing Indira Varma, since she couldn’t do a decent scene with those three in it. Edited another time to add: How could I forget the Olympics of side eye. That intercutting of glances bouncing between Jaime, Brienne and C. rsei was masterful. There was a lot to like and season 7 and to be grateful for here at the end of JB week. And what I didn’t like can always be fixed in future fics.

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There’s a lack of anything that I’m still humming about 24 hours removed from being exposed to it, like the show’s best numbers ended up doing to me many times, but they also fulfil the more important job of fitting the film. They fit and they work, even if the lyrics do sometimes cross the line from “earnestly rubbish” to “just plain rubbish”. He’s in the film for about the same amount of time as he was in the first one, but he’s still pointless to overall proceedings. He mainly seems to exist so that the audience has somebody to worry about when the film needs to show the effects of the hostility that the Sirens bring out in people. So he spends most of the film being a paper-thin jerk, in stark contrast to Equestria Girls where spent most of that film being a paper-thin pretty boy. He only seems to be here because nobody was confident enough to admit the character didn’t work and cut him, with his negative characterisation being a way to turn into the skid of nobody liking him. In a film where Sunset Shimmer was able to be totally redeemed as a character in the space of 75 minutes, Flash sticks out like a sore thumb. A major leap forward in nearly every respect, this is what a sequel should be: using a previously established world and characters to tell a new story with character development that actually sticks, a story and set of character arcs that aren’t just rehashing the beats of the original and improving upon their problems to create a film that stands head and shoulders above its predecessor. Admittedly, if you’re not already on board the super-earnest and occasionally-proudly-cheesy My Little Pony bandwagon, this may not be the movie to convince you, even if it does have a literal music battle for a finale (that is AWESOME ). But if you found yourself disappointed with the first Equestria Girls, then you should give Rainbow Rocks a shot as I guarantee you that you will find it a major leap forward comparatively. See, folks! Heart-on-sleeve sincerity wins out, after all. Roll on the inevitable third instalment in 12 months’ time. As such, every week this month will see us expand on our Decade In Film series with a spin off article focussing on five horror films from the sixties, the seventies, the eighties, the nineties and the noughties.

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We’ll see in the next episode if Sansa will finally let Jon in on this Vale information. She can even tell a white lie (“I reached out to my cousin Robin, who loves me dearly, and I do hope he’ll tell his Lord Protector of the Vale to send his army to my aid. ) But yeah, someone thinking straight won’t keep it a secret. But whoever it is, did Jaime just confess to someone that he’s in love with his twin sister? “I love Cersei. And if I have to slaughter every Tully to get back to her, that’s what I’ll do. That’s not something you say about a sister. Benjin Stark returned from season 1 and saved Bran. Neither honour nor any oaths he has taken compel him to assist the Starks in taking back Winterfell. And he does not become a villain by refusing Brienne here. Unfortunately, the way he is being written will turn the audience against him. Him being ready to kill all Tullys to get back to Cersei? Wtf. I don’t even see the Jaime today as a villain, not that I’m a Lannister supporter.

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Always thought it was a hilarious comic book and cartoon. A buddy of mine works for the Berry College campus PD, and there is a dispatcher there that has an ice addiction. Anyway, a few of them got together and wanted to surprise her with this artwork on shirts that they were going to get printed. The original design is from a webcomic known as Axe Cop. This project was a great refresher on the ways of Photoshop. There are still bits that I nitpick at, but I'm still very happy with the outcome. One thing to note is that they wanted to keep the badge the same. I have a version where the badge has an ice bag instead of an axe, but they wanted to keep it the way it is. And can I say that I am super giddy to get an Axe Cop drawing. In an episode with an apocalypse scenario I got to design a handful of background characters. One thing a lot of artists do that I hate is draw a ton of young attractive people populating the backgrounds. I wanted to clearly show there was a diverse range of ages and body types. There's a whole world of people that exist, especially in Axe Cop! For the most part, we did traditional animation in Adobe Flash.

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I mean, do you think Oberyn or Elia would have wanted his nephew and brother to be murdered. Do you think Ellaria Sand of S4 would have wanted that. I can see where you're coming from, but just from a character and plot development standpoint I can see and understand how and why she changed from S4 to S5. And even when she went off the deep end she still hated the people (by lineage) who were responsible for what happened to Elia. It was a contrived series of events and does not translate well at all. They should’ve done more with his character before that fight scene. Bonus points for casting Alexander Siddig and giving him 5 lines, no development and allegedly offering him a hand shake deal moving forward, and then reneging on it. From creating White Walkers to a singing guest star to crafting Dragonstone, Maisie Williams, Emilia Clarke and other cast and crew debrief on the making of the Season 7 premiere of Game of Thrones. GAME OF THRONES S7 Official Making Of ! (2017) GOT, Behind the Scenes. Part of the GOT team explain how they created some of the scenes in season 7 using visual effects. Watch the VFX's making of for the following scenes: the silence ship battle, the loot train attack, creating a zombie polar bear, the frozen lake and the army of the dead. Game of Thrones - Making Of Season 1-5 Visual Effects VFX. Watch more awesome videos on our channels and pages.

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Their private life is suddenly the subject of front-page pictures and articles. Readers are quick to react when they feel a journalist has crossed the line and intruded into a subject's personal moment of grief. Public officials and celebrities also feel that journalists sometimes cross that yellow journalism line in covering their everyday activities. Her mother saw a television camera, Barr said, coming through the window of her home. Barr's mother was forced to lie on the floor to avoid being videotaped. The judicial system in America has recognize that private and public persons have different legal rights when it comes to privacy. Privacy laws, as can be imagined, are much stricter for private citizens not involved in a news story than for public celebrities who sometimes invite media attention. Journalists need to be aware of the laws that are concerned with privacy and trespass. But ethical behavior should not be guided by what is strictly legal. Historically, invasion of privacy issues are linked with candid photography. Limitations with the type of camera, lenses, and film in the early days of photography prevented many of the candid moments that are commonplace today. Once cameras became hand-held and lenses and film became faster, amateur and professional photographers were able to make pictures that previously were impossible. Early news photographers were forced to use bulky cameras that limited the type of picture possible. Candid pictures were simply not possible when subjects quickly spotted a photographer.

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Lakeview Terrace is an uncommonly good thriller that engages the senses with pulse-pounding showdowns and cliffhangers. As a didactic and climactic thrill ride that gradually builds suspense layer upon layer, the movie’s structure, ironically or intentionally, resembles a terrace. George Lucas’ second Star Wars movie, The Empire Strikes Back (1980), was, in its day, the most successful sequel of all time. Empire kept audiences coming back with its bold new direction, darker tone and bitter outcomes, i. . the bad guys occasionally win and the good guys get frozen and loose appendages. The Dark Knight, like Empire, resisted the urge to rest on the success of its predecessor ( Batman Begins ) by taking a sharp left turn into the seedier and grittier regions of Gotham’s crime-infested underworld. Living up to the darkness denoted in its title, The Dark Knight is a well-crafted heist film, a highly styled noir and an elaborate Greek tragedy all wrapped up into a tangled, yet cohesive, ball of narrative yarn. Deuces are wild in The Dark Knight: besides being the second film in the series, it features two villains (one is even named Two-Face). The score was arranged and conducted by two veteran composers, Hans Zimmer and James Newton Howard: not since Jaws has an ascending two note main theme been used with such terrifying effectiveness. There’s also enough plot for two movies here and, as such, some may consider The Dark Knight to be too long. With a movie as finely mounted and expertly executed as The Dark Knight, it’s nearly impossible to find fault with the film, and an objection leveled at any part of the picture is tantamount to a baseless attack; like pointing out one errant brushstroke in the Mona Lisa. Just the same, here are my gripes: Though the action is frenetic out of the starting gate, Nolan and David S. Goyer’s story is slow to unravel—the main point of the movie doesn’t coalesce until somewhere near the middle.

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