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But given the way that digital media has matured since the show premiered eight years ago, achieving the same omnipresence is about as unlikely as Ned Stark rising from the dead to fight alongside the Night King. (A possibility! But a slim one. For one, the show’s unparalleled groundswell of fandom was able to grow during the ideal moment of the wide-open early internet, amid the real-time writing of a hit series by an author whose procrastination has become a meta narrative in itself. For another, the on-demand revolution has rewired television to be far less lavish and far more niche. The success of companies like Netflix and Amazon suggest that a nimble, “diversified” programming slate—that is, one that has been carefully designed and budgeted according to viewer demographics and their watching habits—is the formula for future success. And over time, audiences have come to expect entertainment in large doses at their own convenience. Game of Thrones represents the end of an era, but in many ways it is a relic of an already defunct one; it is the lucky surfer who rode the last big wave of funding and grandiosity into the calm, calibrated waters of new media. But they will also be losing a powerful commonality. In its best times, Thrones transcended entertainment and unified strangers. Chad Trim, a 23-year-old software salesman in Austin, Texas, told me that he met his best friend in the summer of 2016, when the two would watch the show together. “He would come over to my apartment complex every week to watch with me,” he said. Though the show is coming to a close and it’s unclear if or when Martin’s remaining books will be published, the community he enjoys around Thrones lives on. This August, long after the series finale, he’ll be attending his 17th Brotherhood Without Banners meeting at Worldcon in Dublin. “It would be kind of sad not to,” he said. Sure, a lot of the great movies that are being followed up have perfect endings, but 2001 is so much more.

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Pryce’s performance invites us to also project our own ideas of Quixote’s legend onto him. The actor steps into Quixote’s heralded shoes as a paradox of provincial innocence and weathered sagacity, making his character appropriately multitudinous. That faded floppy-eared copy of Don Quixote in his hands says plenty. Cervantes’s classic is important for its self-reflectivity, for how Don Quixote reflects how texts, cultures, and relationships author us as much as our perspectives author the world surrounding us. Four hundred years later, he’s been reduced by popular culture to empty iconography. Of course Toby directs commercials, as art and advertising are often indistinguishable in a time when major movie tentpole releases are like 150-minute commercials for upcoming movies in expanding universes. Quixote’s black-and-white image might as well be a celluloid sarcophagus. Gilliam’s film, then, engages with Don Quixote in an attempt to resurrect and revivify its significance. Toby’s fateful encounter with the mad Javier serves to propel the men out of their respective stupors. Soon they head into the countryside, with Javier assigning Toby the moniker of Sancho Panza. Expectedly, their adventures incorporate familiar episodes from Cervantes’s novel: Quixote’s delusions of seeing windmills as giants and sheep as people, a knight covered in mirrored armor, women cursed with beards, and so on. But these instances often diverge from the novel—alterations that come to suggest an amorphous Quixote dream soup where theatrical artifice and reality meld together, as they often do in the movies, and as much as imperial Spain and the contemporary world do in Gilliam’s film. In this sense, there’s an offbeat, improvisational rhythm to the film that can feel as if Gilliam’s struggling to find his footing, but then this is a work about an egotistical director lost in the wilderness, his pride affronted by the realization that what he creates has a life of its own. The Man Who Killed Don Quixote begins with titles acknowledging how it’s a work “25 years in the making—and unmaking,” referencing the quite tempestuous production history of Gilliam’s film. This comes to a head in a thread involving Angelica, whom Toby discovers is betrothed to the thuggish Miiskin. Javier and Toby are captured and brought to Miiskin’s castle, where the film’s blurring of reality and art reaches a crescendo.

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24 to No. 22 while Michigan, who checked in at No. 18 a week ago, fell out of the rankings. There was little movement among the top 10 as Alabama held onto the top spot in both polls once again following a 56-0 thrashing of Mercer. Miami, Oklahoma, Clemson and Wisconsin rounded out the top five in the AP poll, and the 2-5 order in the coaches' poll is Miami, Clemson, Wisconsin and Oklahoma. 1. Alabama (58 first-place votes), 11-0 record, 1,522 points (last week: 1) 2. Alabama (64 first-place votes), 11-0 record, 1,600 points (last week: 1) 2. MSU coach Tom Izzo said the 6-foot-7 swingman is day-to-day with a sprained ankle, though Izzo said it is not a high-ankle injury. It was the second time Bridges was hurt at home this season, with a fall during an exhibition win over Ferris State resulting in stitches near his eye. MSU struggled on the glass and defensively early again. Only this time, it was Stony Brook instead of No. 1 Duke. The Seawolves (0-4) built an eight-point lead early with some hot shooting, making six of their first eight from beyond the arc. Joshua Langford started strong and had 11 first-half points, while Cassius Winston scored 10 of his 13 points in the final 10 minutes of the opening half to help MSU recover for a 44-38 halftime lead. The Spartans eventually recovered on the glass and finished with a 41-25 edge.

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Studied at LSE in London and is now pro-fessor at the University of London. Writer. Fea-ture fi lm: Ama (with Kwate Nee Owoo, 1991) Oyewole, Olowomujore. Feature fi lm: Oju Oro (1986) Pakleppa, Michael (b. Worked in the South African fi lm industry from 1990. Feature fi lm: Nukie (English, with Sias Oden daal, 1987) Panou, Sanvi. Founder of the Images dailleurs cinema and festival in Paris. Worked in Swedish documentary and was sent to South Africa by the Svensk Documen-tary Film Unit in 1946. Worked as cinematoga-pher and in early 1950s went to Hollywood to polish his skills. Began as a director with tour-ist and wildlife fi lms, but is best known for hisanti- apartheid documentaries of the mid-1970s. Feature fi lm: Th e Redemption (English, 1995) Phillip, Harald. Fea-ture fi lms: Vreemde Wreld (Afrikaans, 1974), Voortvlugtige Spioen (Afrikaans, 1974) Picavez, Marc. French founder of the audio-visual company MAKIZART and co- director of one Senegalese feature: Bul dconn! (with Massar Dieng, 2005) Pienaar, Andries A. Feature fi lm: Lig van n Eeu (Afrikaans, 1942) Pillay, Maganthrie. Feature fi lm: 34 South (2005) African Feature Filmmakers 107 Pohl, Truida.

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