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I can't think of a better analogy to the Trump administration than this. So many people are talking out of seventeen sides of their mouths, becoming a clusterfuck of bent rhetoric and non-transparent ideology. Kurosawa's tale of a crime splintered looks quite baroque compared to the double speak of today. Watch this one again for an extremely jaded outlook on things. And it's one of Toshiro Mifune's best roles, which is saying alot for his long, illustrious career. That being the current administration will eventually step over an imaginary boundary that seems to be pushed further ahead every day and finally commit some sort of treasonous act that requires impeachment. And if that day comes, Alan Pakula's film (based on the brilliant book by reporters Bob Woodward and Carl Bernstein) serves as a tremendous reminder of the sweat and tears that goes into a journalistic investigation to get the facts sound and accurate. Mr. Smith Goes To Washington - Frank Capra was Hollywood's most humanist director. He routinely found goodness in most people's actions, thoughts and reactions. I doubt there ever will be a Mr. Smith in our present government, but if there is one, now would be the time for him to step up and whisk us all away into his Capra-esque fantasy and wipe clean the (now daily) mounting improprieties of the Trump Regime. Placed alongside the other nihilistic, sardonic and utterly prescient films on this list, I include Capra's film solely because of its illusion of decency and innocence. Lord knows we all can use some rays of hope nowadays, and this film provides it.
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I think Sansa is going to realize that Littlefinger has outlived his usefulness. His power derives mostly as a regent for little twit Robyn Arryn. Sansa will realize that she can manipulate Robyn (and Lord Royce) as well as Littlefinger does. Lord Royce will back the move and be installed as the new protector of the Vale. Since Sansa isn't the type to do her own wet work, Arya does the deed. I believe Sansa will become the ruler of the North because everything points to Jon having a greater destiny than simply King of the North. If there is a happy ending for Arya, maybe someday she and Gendry can reestablish the Baratheon line. There is a symmetry between Robert and Lyanna and Gendry and Arya. Gendry is compared to a young Robert and Arya is compared to her aunt, right. The whole Game started because Robert didn't get the girl he wanted. It would complete the circle if Gendry and Arya settled down. Sam and Jorah, and Sansa and Arya sound pretty good, but I'll take it however if we get to see Arya thread the needle on tiny penis. I was thinking the same thing and how obvious it is to fo around at the sea. You should be a critic or writing screen plays or something.
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. . . agent Phil Coulson (Clark Gregg) pops up in the Iron Man and Thor filmsâ€”the studio wouldnâ€™t really know if its shared universe idea had traction until its first major team-up, 2012â€™s The Avengers. Would audiences who hadnâ€™t been keeping up with this expansive universe still be interested in this joint venture. Could the film possibly balance so many superheroes without devolving into chaos. And as it did with Favreau, the studio once again picked an unusual choice to helm the picture: Joss Whedon was best known for his TV work and he had little on his resume to prove he could helm a massive blockbuster. Avengers somehow works just as well as the culmination of five movies as it does as a stand-alone film. Worried about the threat of alien forces, S. . . . . .
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We talked about the Famous Five vs Secret Seven, the comforting repetition of Enid Blyton, updating books for modern audiences, and, seeing as we had two of Ireland's best YA authors in the studio, a lot of talk about writing YA. Then we had a patented Juvenalia digression into Adele's Titanic-themed party, the Met Gala and cultural appropriation. The usual. Her novels Only Ever Yours, Asking For It, Almost Love, and The Surface Breaks are all available now and are all excellent. The stage adaptation of Asking For It is in The Everyman in Cork until June 23rd and in the Abbey Theatre in Dublin from November 9th-24th. We talked about representation on kids TV, Fresh Prince's willingness to leave things on a sad note, learning morals from Will Smith, and the legacy of rich, black families on TV. Night In The Woods is one of Alan's favourite games ever so please note how relatively chill he managed to stay during this episode. Night In The Woods is available on Steam, PS4, Xbox One, and Switch. We took over the Vintage Room in The Workman's Club and filled it with sound people. We did a little quiz and gave away some extremely desirable prizes. Then we talked to Oscar-winning graphic designer Annie Atkins whose work you've seen in The Grand Budapest Hotel, Isle Of Dogs, Bridge Of Spies, The Tudors, and loads more. Annie talked to us about the classic and only mildly disturbing family comedy BIG. It was a really interesting conversation and also it's one of the very special times where Alan, Ellen, and Sarah are all in the same room so that was fun. Thank you so much to Alan and Brian at HeadStuff for making this episode happen and to everybody at The Workman's who gave us the space and set us up and made sure we didn't set fire to anything.
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Paul Monash wrote the flavorful script that redressed the usual notion that Long had been assassinated; actually, his bodyguard accidentally shot him while maniacally pumping 60 rounds into Seymour Weissâ€™s lifeless body after Weiss clobbered Long with his fist inside the Baton Rouge capitol building. Schlamme caught an evocative look for Depression Era New Orleans while film editor Paul Dixon won an Eddie from the American Society of Film Editors. Matt Craven played Weiss and the cast included Bob Gunton (as FDR), Anne Heche, Bill Cobbs, Hoyt Axton, and Richard Bradford. JOHN SCHLESINGER b. February 16, 1926, London, England; d. Among them are Billy Liar (1963), Darling 523 (1965), Sunday, Bloody Sunday (1971), The Day of the Locust (1975), Marathon Man (1976), Yanks (1979), and Cold Comfort Farm (1995). The director won his Oscar for Midnight Cowboy and was nominated on two other occasions. The British Academy of Film and Television Arts bestowed him with five directing awards, two for the TV productions of An Englishman Abroad and A Question of Attribution, and nominated him a total of seven times. Days in the Trees starred Peggy Ashcroft in Waris Husseinâ€™s adaptation of a Marguerite Duras story set in a nightclub; Schlesingerâ€™s contribution was as a helping hand for Hussein. Separate Tables was unnecessary but distinguished; Schlesingerâ€™s old friends, Julie Christie and Alan Bates, both played dual roles. The director resisted any impulses to â€śopen upâ€ť the play and left it in two acts and exactly as Terence Rattigan wrote it, with its once shocking allusions to homosexuality. The piece still resonates as one of the stageâ€™s archetypal depictions of loneliness. In An Englishman Abroad, actress Coral Browne played herself in the true story of a trip she took to Moscow, where she struck up a friendship with infamous Cold War spy Guy Burgess, impeccably played by Bates. Alan Bennettâ€™s sharp and funny dialogue and the rude twinkle in the eye of Schlesingerâ€™s controlled madness made this meeting of two famous British minds a great pleasure.