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Sarah admits what she wants is in large part wish-fulfillment, but then goes on: What I would like, at this moment in history, is for some of my viewerly wishes to be fulfilled, and my viewerly wishes include, at this late date in the show’s narrative, letting the women who have suffered and learned have some chance to triumph, together. Why not? Is it so impossible that we could have some beautifully made television where the ladies got the super impossible fantasy plotline. Is it so impossible that maybe Arya actually is smarter than Baelish, while also being a virtuoso fighter. Why do the makers of this show think it’s fun, or in any way entertaining, to sit with the dread of Sansa and Arya hurting each other. Note: that last point remains even if the show does a gotcha turnaround that has Arya and Sansa fooling Littlefinger and the show's viewers all along. Why would Arya and Sansa ever even like each other. They've never been on the same wavelength and their priorities and values are at odds, too. That's become more rather than less true as they've gotten older and gone their own ways in life. I find it weird that just because they're both women of around the same age and have a blood tie, they're supposed to be buddies. Their interests are aligned because they're both pro-Stark. So I basically expect lots of miscommunication and distrust between them, as ever, but also a commitment to some kind of alliance based on their shared interests. Personally, if I were Sansa, I would be ready to send Arya to Jon. Don't think that's even on Sansa's radar as a possibility, though. And I'm very curious about what the hell Arya meant when she gave Sansa the knife as though Sansa had won the game of faces. I figured that was Arya saying that Sansa had fooled her, but I don't know what Arya thinks Sansa's true nature is at this point. The White Walkers take it to the wall -- but it breathes ice all over it and makes the wall even stronger. As for the whole logical inconsistencies about raven and dragon travel, I figure that somehow Bran helped things along. He'd only have to see it happening and then warg into a raven at dragonstone and let them know. I also think there must be thermal vents or something so that lake water was slightly warmer than just a regular lake would be, which is why it took days for it to freeze again.

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Poor Rufus! The fact that I was able to laugh about his death shows how truly funny and enjoyable this movie is. Normally a dead cat would make a scene unwatchable for me. Sure, he often kills with no remorse, but come on guys, it’s for the greater good. The bright green “re-animator juice” is iconic, as is this film. Last night's film selection was a real treat on so many levels. I will warn you, there are spoilers ahead, so proceed with caution. I didn't have many warm and fuzzy feelings about any of the staff or residents of the mental institution that our friend Nica was housed in, so I was rooting for our little friends throughout the movie. Is there anything cuter than seeing those little sneakers sneak up on someone before their demise. As I was doing my research for this blog post (as serious journalists like myself do), I discovered that the Netflix version is missing some unrated footage and a post-credits scene. I will have to buy the Blue-ray or DVD to see what that is. I can't imagine what they left off of the Netflix version. If the scene features Jennifer Tilly in any way I am buying it immediately. She was glamorous and fantastic in this film, just as she always is. When Chucky took over her body, the change in her was incredible. Her facial expressions were on point and I thought she really captured the essence of Charles Lee Ray. I definitely prefer possessed, Chuck-ified Nica to sad, confused Nica. When she drove off into the sunset with Tiffany and little Tiffany, it was the happy ending I was hoping for. I am a huge fan of Jennifer Tilly, but Fiona Dourif was fantastic too, just as she was in the Curse of Chucky. Our dear friend and co-producer Kenwood Anderson worked so hard on the mixing and mastering, and we are very happy with how everything came out.

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Our parents, Dyan and Ted, helped out with catering. Lauren Spear, our sister, wrote a beautiful lullaby that plays a big part in the film. Unauthorized distribution, transmission or republication strictly prohibited. This means that religious intolerance is depicted, sometimes violently. There are also scenes of rioting and confrontation, and injuries are shown after a character is thrown from a train. The movie attempts to explore the points of view of well-meaning British officials and both average Indian citizens and luminaries like Gandhi and Nehru. The film has been banned in Pakistan, presumably for its disapproving view of that country's creation. It might not hold most younger viewers' interest, with its high amount of exposition and its unconvincing love story (which involves longing looks and touches but nothing more graphic). But it's at least a stab at getting the Indian side of this story out to mainstream Western audiences. Historical figures portrayed in a positive light include Lord Mountbatten, Jawaharlal Nehru, and Mahatma Gandhi. Ordinary people exhibit bravery and loyalty to family. The characters are mostly Indian, though most of the leads are white British people. Tensions run high, and rioting is shown from a distance. A main female character is seen with injuries after being thrown from a train. Coincidentally, the girl Jeet loves (Bollywood star Huma Qureshi) -- who's promised to another and whom he hasn't seen for two years -- is also working there. India is on the verge of all-out civil war as one major religious group wants to break away and form a separate nation. A split might avert violence in the short run but lead to great loss of life in the future -- as well as separate the two lovers. Through Jeet, viewers witness the decision-making process as Mountbatten consults with the likes of Gandhi, Nehru, Muslim leader Muhammad Ali Jinnah, and (off screen) Winston Churchill. The romantic subplot, unfortunately, feels plastered on, rather than natural. And the storytelling relies on what might generously be called remarkable coincidences.