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At this point, all of the Stark siblings have basically been reunited. Arya finally returns to Winterfell, the last Stark to do so (because the show's not adapting Lady Stoneheart from the books). I'm not that big of a fan of how long the 'two dumb soldiers' scene ran, although it is still relatively funny. Both characters have matured, and have grown past their petty feuds to care more about. Sansa's absolute relief at seeing that Arya remains relatively true to who she is, especially considering that Bran's like an Elder God of the Forest or some shit now, is absolutely touching. I also absolutely loved how Arya's matter-of-fact delivery of her List of people she's going to kill was treated as a funny joke from Sansa. The two have grown more ruthless, but Sansa still assumes that the shit arya went through was more. Whereas Arya and Bran were dealing with the monsters and msytics of the world. Arya went through it relatively well-adjusted as compared to Bran, though. Also I did love how Sansa kept going 'WTF WTF' the more she learns about Arya. First, when Arya meets up with Bran, who also matter-of-factly mentions Arya's List and her bit at the crossroads. Arya actually just shrugs off Bran's visions with what amounts to a 'cool, bro' after a brief look of bafflement, taking Sansa's 'Bran has visions' line as adequate explanation, and I loved that. Also loved the look of bewilderment in Sansa's face when she realized that Arya was talking about a literal List now that Bran's confirmed it. Oh, and Bran gives the Valyrian-Steel dagger that Littlefinger gave him earlier this episode (more on that later) to Arya, making Arya part of the short-list of cool badass characters with Dragonglass weapons that can murder White Walkers. Later on, though, in one of the best scenes in the episode and would undoubtedly be the best list if not for the whole 'DRAGONS BURN SOLDIERS WOOOOOO' final scene, we get Arya fighting against Brienne, the two uncontested most badass ladies in all of Westeros (Daenerys and Cersei are a different brand of cool, dragon-ing and wildfire-ing their enemies instead of fighting them). What better way is there to established what an awesome badass super-ninja that Arya's been into other than to pit her against a known quantity, Brienne. Despite their past misgivings, Arya clearly has a lot of respect for the woman who beat the Hound, and both the choreography of the scene as well as the acting involved is nothing short of outstanding. It ended with a draw, but shit, what an awesome fight that was. Add that to the choreography, perfectly showing the different fighting styles.

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and Arya telling the BwB there is only one God-death. I’m not sure how the show could communicate that magic is being done. Did we ever find out why he was caged in the first place. Can you tell me where I’d find that? (or was that from one of the history and lore videos? Thans. Sometimes it’s hard for me to indicate when I’m serious and when I’m poking fun (at the whole LF thing) on-line. Yes, I agree that there are some time line issues but when you have variable time periods within episodes and within storylines, it’s hard to really know. After all the Ironborn were on their fastest ships. This is where you have some discussion of how the FM change faces. Then at the very end, Pate reappears as if nothing happened. So the guess is that Jacqen, if he was the Alchemist, took Pate’s appearance. And the rest is in Mel or Jon’s chapter in ADWD regarding Mance and how she glamoured Rattleshirt to look like Mance and vice versa. Or maybe he will, and then smack her at the back of her head and say, “A girl has learned nothing! . I said they are liking him for something that he’s not. Trying to paint him as becoming a good guy or something when he’s never been that. He was smug from the beginning, cut down a couple notches when he lost his hand and that’s about it. At that moment a faceless man appered and offered the boy a mercy death,Varys refused the faceless man,he wanted to live.

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Clarke's seminal classic, whose masterful themes re-defined the genre -- while not easily lending themselves to a visual medium. The screenwriters did a deft job of updating key story details for the 21st century. Unfortunately, I think they also fell victim to the generally thankless task of interweaving first-person melodrama via extended romantic arcs for characters like Ricky and Milo. I'm guessing their goal was to make the relatively dispassionate, clinical tone of Clarke's source material more palatable for a TV audience. I actually found both of these arcs to be touching, even heartbreaking -- but they did distract from some of the main story beats (for instance, worldwide parental despair at the loss of all children). I also think some of the resolution (and especially Overmind) scenes in Part Three were far too literal to have their intended impact. In all, I was surprisingly impressed by the excellent effects, the truly haunting imagery, and the degree of story power that managed to remain intact. I recall reading the book over 30 years ago and really It really pains me to give so a low-ball score to this show. I recall reading the book over 30 years ago and really being struck by the various themes all wrapped in to one story. Assuming you'd not read the book, the 'Syfy' version doesn't work. Too many plot holes exist and, without going in to all of them, the viewer is left to assume that there are rational explanation but the show just doesn't have the time to go in to them. As an example, much time is wasted on Stormgren and what happens to his character and this adds no value to the story and leaves the viewer baffled. I had such high-hopes for Milo and he ends up being a singleminded mess. I'd like to empathize with him but it was impossible for me to emotionally invest in his character when he never explained what was driving him. The Greggson parents are whiney and I don't know if it was the overall casting (there were some good choices — Charles Dance was great) or the directing but I found most of the characters flat. If you had read the book, you'd be questioning watching this by the end of the 1st part and if you stick around for the 3rd part, you're just abusing yourself. I watched all this on-demand just recently and due to Comcast ('It's Comcastic'. lech) bugs, I finally tried watching the last part via the 'Syfy' website and now I really wished I hadn't. Clarke is just a damn good writer and the writers of this show are I really tried to like this adaption.

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Davis was later drafted by PBS for its most ambitious dramatic undertaking up to its time, The Adams Chronicles, and he directed episodes five and six. Country Matters, another miniseries on which he shared the directorial chores, consisted of dramatizations of stories by H. E. Bates and A. E. Coppard. The series was broken up into two mini-serials for its American presentation on Masterpiece Theatre. The port Davis returned to most often was Play for Today. Schmoedipus was a Dennis Potter concoction about a middle-aged lady (Anna Cropper) who is convinced by a man (Tim Curry) on her doorstep that he was the baby she gave away decades ago after the birth. Campion’s Interview and The Country Party were both from the font of frequent Davis collaborator Brian Clark. The most controversial presentation of Davis’s career was undoubtedly the show that belated scheduling converted into his 14th and final Play for Today production, Brimstone and Treacle. Actually, it had been his seventh show for the anthology forum, filmed for an April 1976 air date. But it actually aired 11 years later in 1987, three years after the series had been off the air. The BBC shelved Davis’s show because of its provocative rape scenes. The story presents a bickering middle-aged couple with a brain-damaged daughter, Pattie, who requires much attention. A visitor to their home, Martin, who claims to be Pattie’s friend, privately thinks himself as the devil incarnate, and begins raping Pattie whenever the parents are out of earshot. Denholm Elliott, who played Mr. Bates in the Loncraine film, originated the role for Davis. Patricia Lawrence played his gullible wife, Michael Kitchen was Martin, and Michelle Newell played Pattie.

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The Starks are a strong family, and it’s arguable that Arya is the strongest of the bunch — for her to give up her very self would be giving up everything. And besides, after this season word has it they’re pulling a Breaking Bad and giving us two shorter 7-episode seasons, so it’s not like they have a ton of time to take Arya on a journey of utterly losing herself and then finding it again. Lady Crane played a character, and then began to embody parts of that character. Before she met Jaqen, Arya had a death list, and she would soothe herself by repeating the names on that list to herself over and over again. But it was only when Jaqen arrived and she saw what it actually meant to be an assassin that she first questioned her future as a cold-hearted killer, and then embraced parts of it. Arya resists doing things she doesn’t believe in — she couldn’t bring herself to poison Lady Crane, for example — but when she believes it’s right, Jaqen has taught her how to get the job done. Thankfully, that didn’t turn out to be true (I don’t think that scenario would be suited to the world of Game of Thrones ) and Arya leads the waif on a long, painful journey right to Needle’s nest. And then, just like a blind Audrey Hepburn smashing all the lights in Wait Until Dark when an intruder comes into her apartment, Arya cuts out the candle. She knows how to fight whilst blind — and the waif doesn’t. He never has a smile for the waif, who is filled with hatred and jealousy at every turn. He knows the waif believes she is selfless, but this constantly loathing she has prevents her from truly being one of the faceless men, because she feels that hatred too strongly. He holds nothing personal against those whom he kills. With Arya, I think he saw someone he could shape and mould, but I was never convinced that he believed she could become one of the faceless, nor did he want her to be. Did he blind her so she could learn how to fight in the dark. Did he strip her of everyone so she would find the will and the power to overcome the waif in their final battle. Did he know she would triumph and then head back to Westeros to help take back Winterfell. He descends the stairs amidst the firepots (who keeps all of those going, by the way. As if he’s actually proud of Arya for refusing to slough off her very self, and for returning to the place she should have been this whole time. It’s a fantastic moment, and one of the highlights of this season so far.

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Both sets of authors point out that because of differences across groups, communication behaviors that emerge in one group need not necessarily appear in another. Use of CMC can also be distinguished by the associations between communicators. Differences in uses and impact of CMC have been considered in terms of who is talking to whom (e. . strangers, family, friends, coworkers) and the social networks of communicators. SOCIAL NETWORKS Social network studies look at CMC use in terms of who is communicating with whom (Garton et al. 1997). This view cuts across notions of similar users to address directly what people are doing with each other online, and via different media. Networks of interconnectedness rather than aggregates of groups or users are examined. These studies take into consideration context, group activities, and structures, as well as media use (e. . Haythornthwaite, 2002; Haythornthwaite et al. 1998; Wellman et al. 1996). Some results from social network studies of media use suggest that the conflicting results found for the use of CMC and of the Internet may be reconciled by looking more closely at the kinds of ties various media support (Haythornthwaite, 2002, 2005). Network studies have found that media use differs according to the strength of the tie between communicating pairs. Those who are weakly tied, and use only one or two media to communicate, use the same one or two media. Strongly tied pairs also use these media, but add on more private and asynchronous means of communication (Haythornthwaite, 2002, 2005). While there have been CMC debates about what kinds of messages could be sent via the lean medium of e-mail versus the rich medium of face-to-face meetings, and Internet debates about what kinds of relationships can be maintained online versus those that need the rich contexts of home or office, both have failed to acknowledge that we use both online and offline for a variety of messages and relationships.

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