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It really makes everything super simple for the audience and season 7 overall. We went from who knows how many players to 4: Jon, Cersei, Dany and the White Walkers, with Littlefinger and Euron Greyjoy as outliers. I hope you believe me when I tell you the faults I find with the show are not with the fact that it's not as complex as the books. It could never be, and season 7 will hopefully be a better season, because of how simple things are now. I just wish some plots were handled in a way that they flowed with the characters, and didn't feel forced or illogical. The montage in episode 4 felt earned as a development of Arya's physical and mental skills. Then she gets the Mercy assignment, disobeys, and runs away. A lot of people got how nonsensical the sequence in episode 8 was, in terms of Arya having been sliced in the stomach and stabbed twice, but letting go of that logistical plot hole, what angered me the most was how Jaqen handled Arya at the end. He just let an apprentice go, and his other one died. You could say he didn't care whose face was added to the hall, and since the Waif's face was added, the deal was done, but then why did he send the Waif after Arya and not after Lady Crane. Basically, at one point there were consequences to leaving the House of Black and White but at a later point, there weren't, and I don't understand why. Plus Jaqen declaring Arya a no one couldn't be any more far from the truth, I don't know why he says that. In episode 10, Arya, is in Westeros, deep in the Riverlands, in Walder Frey's service, wearing a mask, and she serves him a pie with his sons, and then kills him. We don't see her arrive in Westeros, nor at the Twins, sneak into the castle, kill Walder's sons.

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Whiskey Echo is an interesting piece about young, idealistic international workers caught up in the dangers of paramilitary fighting in Sudan. It took Hook back to Africa, the continent of his most notable acclaim, for The Kitchen Toto. As an actor, Hooks starred in the series The Rookies and The White Shadow, having first come to prominence acting in Martin Ritt’s Sounder (1972), for which he received a Golden Globe nomination. Hooks acted in productions directed by Robert Ellis Miller, Gordon Parks Jr. Gilbert Moses, Ralph Nelson, Michael O’Herlihy, David Greene, Burt Brinckerhoff, Joe Dante, and the team of Bobby and Peter Farrelly. Hooks’s features as a director include Passenger 57 (1992) with Wesley Snipes, Fled (1996) with Laurence Fishburne and Stephen Baldwin, and Black Dog (1998) with Patrick Swayze. Hooks won an Emmy Award for outstanding children’s program for The Color of Friendship. He was nominated for Directors Guild of America Awards for direction of a children’s program for both The Color of Friendship and the 2003 remake of Sounder. Attention to race issues is an undercurrent in Hooks’s work as a director. Roots: The Gift was about the attempted escape of slaves from a plantation with the help of Kunta Kinte and Fiddler, played by LeVar Burton and Louis Gossett Jr. reprising their roles from the landmark source miniseries. Blair Underwood starred as Richardson with David Strathairn as editor Bill Thomas. James Earl Jones won an Emmy Award playing Junius Johnson. Heat Wave won the CableACE honors for best movie, Jones, Cicely Tyson as Ruthanna Richardson, and the film editing.

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Orlovsky, the son of a werewolf, decides to marry the daughter of Count Dracula. They maintain a garden with man-eating plants in order to extract the ? id that gives them life to use as a substitute for blood. Eventually Dracula’s daughter decides it’s not enough. Bats also ? around the city, and when bitten, people are turned into ? sh eating cannibals. Blood for Dracula (Dracula cerca sangue di vergine. A dying Count Dracula is in need of virgin (pronounced “wirgin”) blood, so he travels to a Catholic country supposedly known for its virgins, Italy. There he befriends the landowner Marchese di Fiori and attempts to feed off of Fiori’s four reputedly “virgin” daughters. Grant (Himself ), Bill Campbell (Himself ), Cary Elwes (Himself ), Sadie Frost (Herself ), James V. Through interviews and off-screen footage, this documentary offers both an in-depth look at the making of the Hollywood blockbuster Bram Stoker’s Dracula, and a detailed look at the classic Universal Dracula. Producers: Herman Cohen, Austen Jewell; Writing Credits: Aben Kandel (as Ralph Thornton); Director: Herbert L. Strock, Austen Jewell (Assistant director); Cinematography: Monroe P.

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You can hear it in the production: they're very DJ-friendly tracks and, as such, incredibly successful sure-shots for pretty much all the main techno DJs. The tracks on his Pressurize EP show a new side of the project tailored for 50 Weapons: still very functional, but less straightforward. Some bass music and broken-beat influences shine through, but always in true Truncate style. Sauter and Dietrich's reeds skinny-dip into virtual classicist free mode at times (think 'Trane having an erotic dream of Frank Wright), but more often they tangle like electric eels dropped like tampons from the poop hatch of a 747. Miller's guitar joins them up in the stratosphere, plugging raw current into metal bowls, sizzling like a wok full of stewardess jiz, just creating and distorting and worrying the fabric of the cosmos like some idiotic terrier-god from a lost part of the Upanishards. All of the early Borbeto hallmarks are on display: the ducks-attacked-by-lawnmowers thing; the Wilhelm Reich Busts Another Cloud scenario; the angel-wire-thimble connection; the part about the cop car getting crushed by a bulldozer inside a maelstrom in a sewer drain -- it's all here. What is most remarkable about the music on BWM is how fresh it still sounds. There're no cliches brunted about here, nothing that's time-coded in the least; it's even difficult to really categorize the music inside any genre. Jazz, industrial, rock, free. here are elements of all of those here. It's actually the kind of slow-moving, static-laden soul that can only evaporate from the infinite echo chambers of Ohara's (dub) lab. Extremely dense and yet transparently arranged, the soundscapes on Moksha are vast, roomy, and yet they remain somewhat mysterious around the edges. Most beats and percussion elements seem to exist merely for themselves, usually dropping in when you least expect them -- making the resulting groove patterns (and groove it does) even more miraculous and amazing. As a listener, you have to surrender and drown in these pulsating soundscapes, which Ohara wrote and produced single-handedly.

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Harry saved it, and we thought we were going to be the ones—like, with the support and partnership of Visual AIDS. But Sur did some research and had gotten word that it was all lost in a flood, that his partner was dead. It was transferred. It was given to someone else who had no idea what it was and left in some basement and was all destroyed in Sandy, the storm Sandy. It's certainly been a large part of my creative practice. But art, and art-making, and memory, and art practice, is the closest thing that I have to proof. My dad died maybe 15 years ago, and my brother asked if he had any wishes for his remains. No—he died, Brian died, in New York, on 47th Street, and Brad and Susan were with him. Somehow his cremation—or maybe I'm just conflating the fact that I wasn't there. And so, you know, then you're left with humor, you know, like with this dark humor. So it's all kinds of odd, contrasting responses and emotions. And also I think it gives us a lot of space to move forward tomorrow in thinking about maybe how your art practice sustained creativity in response, in this moment, you know—was something that you continued to develop. I was very moved to bear witness to your first half of the oral history. I just want to say that on the record to start the day.

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If you have studied a language previously you will need to take a Language Placement Test to determine the level of courses you should enrol in for 2016. This is a typical study pattern for the first year of a student undertaking a Bachelor of Languages. We in turn value your personal details in accordance with our Privacy Policy. If you do can you please use spoiler tags and 'xxxxxxxxxxx' out the first line for the benefit of people viewing the forum in table mode. I know this might seem a little sad but the Battle of the Bastards episode was spoiled on here by the idiot known as 'Rentaghost' who posted what happened way before the main UK showing of the episode. Blog: Show ME, How You Do That Trick 0 Game of Thrones spoilers (no spoilers in this thread) on 21:32 - Apr 9 with 465 views J2BLUE Game of Thrones spoilers (no spoilers in this thread) on 21:30 - Apr 9 by Mullet You're getting PMed before every episode now aren't you. I won't be opening any PMs except from my most trusted TWTD allies. Good to refresh the memory I'm going to watch 'the story so far' and see how detailed it is. Might watch from the Battle of the Bastards onwards. The final episode of season 6 is my favourite hour of tv ever. I wouldn't mind seeing the first 'half' of this series again before watching the rest. Poll: How do you feel about Christmas? 1 Game of Thrones spoilers (no spoilers in this thread) on 23:53 - Apr 9 with 302 views J2BLUE Game of Thrones spoilers (no spoilers in this thread) on 23:20 - Apr 9 by jeera In the hallway with the candlestick. In eternity, where there is no time, nothing can grow.

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I might be a Lance stan, but jesus fuck do I love Steven Yeun and everything he is. Steven is a gift and I want nothing but happiness for that man. I’ve always pictured Bucky using petnames so often with his SO that when they call him one back he gets all cute and shy about it because he’s not used to it. I had conflicting thoughts about how Japan is portrayed and used in Isle of Dogs, and will probably continue to do so. But I had no conflicting thoughts on the gender politics of Isle of Dogs. One of my favorite Hollywood stories is about a male friend of mine, who I took to a pitch event when he was working for my old company so he could see what it was like and help weigh in. Pitch events, to capture it very quickly, are like sitting on a conveyor belt as people shout at you. There are perks of varying quality, and there are networking opportunities if you’re one of those crafty people who are good at the wording with the mouthpart. (I am more of a worder with the fingers and a keyboard parts, so alas, not for me. And they can be fun if the writers that come are good. But mostly, you’re stuck for three hours or so while writer after writer comes in and quickly sums up their movie or TV show. And then you either snag their deets or you politely smile and nod. My name was on the little card on top of the table, along with the company. And yet, out of the 20 or so people who come across our table, if I say 15 of them were men then I can also say probably about 15 of them look at my male friend first.

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Speaking of which. s far as the West goes, even the bear in The Revenant didn’t have icy blue eyes, and once Dany arrives, all genres other than pure-as-fuck fantasy melt away. Advertisement Screencap via HBO Go Watching dragons set fire to the army of the dead is as close to transcendence as television gets, because it represents more than sheer spectacle—although holy shit, it certainly was that. The first book and first season each began with ice and ended with fire; they’ve been made for each other from the start. Everything else is just texture, detours on the road to this cataclysmic endpoint. It would be enough to make one want religion even if there weren’t two dudes who got brought back by the Red God standing right there, watching their fellow zombies burn. Everyone praised the Field of Fire battle in “The Spoils of War” for the way it engendered sympathy on both sides of the battle, and rightfully so. The contrast is what makes this battle of ice so powerful; the previous fight was about human nature, this one is about cosmic apotheosis. But I also watched Rick and Morty last night, and quoth The Rick: “cosmic apotheosis wears off faster than salvia. Glory turned to horror as we saw a dragon transformed into a wight. Advertisement The dragons have always been ambiguous and multi-faceted figures in Dany’s story, representing her destructive side yet also serving as instruments of liberation. They are her children, even if they themselves eat children. That duality animates Dany’s bittersweet arc in this episode: the cost of doing the right thing, of (as she says) seeing the abyss with your eyes instead of just hearing about it like Ned did, was part of her externalized soul. Dany saved the day, but also handed an invaluable tool to the enemy.

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The performances here are, fittingly, just as stellar as the performers. Gosling and Mulligan mesmerize as misfortunate lovers, whose ill-timed and ill-fated romance never has the chance to blossom into the kind of lasting relationship they both need and desire. Just as serendipity brings the couple together, tragedy splits them apart. In addition to the dazzling leads, the movie’s supporting players are equally impressive: Albert Brooks, Bryan Cranston and Ron Perlman were all perfectly cast and deliver rich and authentic performances. Drive is a subtle and engrossing character study and a thinking person’s action film. For me, I just wanted the story to keep going—to learn what would happen next with these characters. Regardless, the movie successfully upholds the old show biz maxim that instructs writers to “always leave them wanting more. There’s definitely part of me that wants to follow Gosling into that good, dark night to learn the fate of this fascinating lone wolf. Director Steven Soderbergh, who’s no stranger to assembling large ensembles ( Traffic and the Ocean’s trilogy), cleverly recruited the dazzling array of A-list talent by meting out bite-sized roles that only required, in most cases, a minimal time commitment on the shoot. The procedural factor, however, is also detrimental to the film, as some scenes play like a glorified episode of CSI (and, indeed, Fishburne’s presence at the CDC does nothing to discourage this notion), while simultaneously slowing the pacing to that of a courtroom drama. I would refer to Contagion as a thinking person’s disaster film, but that description would be grossly inaccurate: the film’s methodical narrative is more educational than sensational and more filling than thrilling. Still, the film isn’t devoid of merit, especially when it comes to the human equation—i. . how do people react to the species-threatening epidemic.