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Within ten minutes of runtime, Cersei’s revenge is on display for all of King’s Landing to see in a gloriously frightening cinematic event. Immediately setting the tone with an ominous piece of music appropriately titled “The Light of the Seven,” the music, the cinematography, and quick jump cuts between multiple characters’ perspectives give the scene a sense of difference between normal Game of Thrones scenes. Sacrificing the linear storytelling in this instance, the scene gives way to showing (rather than telling) the events that unfold. Beginning slowly, the gaps between cuts of character perspectives is normal. The boy he pursued stabs Lancel in the catacombs of the Sept. Gallons of Wildfire await detonation, and an injured Lancel becomes the only hope for the enemies of Cersei residing above. The scene then hastily jumps between a crawling Lancel and Margery Tyrell, who finally realizes Cersei’s plot, urging everyone to abandon the Sept. The Faith Militant’s refusal to let people leave and Lancel inching toward the few flickering candles, symbolizing the small burning hope for those within the Sept bolsters the rising tension of the scene. Chaos builds and the music swells with each cut of the camera. Finally, the High Sparrow and Margery exchange a somber knowing look of fear. In its place, the igniting and cataclysmic rumble of exploding Wildfire that articulate the plum of green fire and smoke ravaging the Sept of Baelor. The denouement comes from a simple yet powerful look of satisfaction from Queen Cersei as she sips her wine and walks away. In a sense, she ties a bow on an objectively fantastic display of progressive cinematic suspense.

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What I cited above is based on HBO’s numbers on the audience demographics for Thrones and other HBO series, at least of 2-3 years ago. In part, this is just economic demographics: HBO is moderately expensive, and therefore a disproportionate number of the people who subscribe to it are professionals in their 30s, 40s and 50s. I think it would be a nice touch to show her growing into her identity as a Stark by making her say them, maybe in a speech to motivate the northern Lords or something. It ran for years and then in the final episode one of the characters watched his mute, autistic son, Tommy Westphall, playing with a snowglobe containing a model of the hospital and wondered what his son thought about all day long. This teaser probably wasn’t meant to imply anything significant about the Faceless Men or the House of Black and White and their relationship to all the characters and events, but they might have hoped that people would pick up on it and have fun pondering such theories. The guy who edited the teaser has nothing to do with the production of the show: he probably knows less about what is going to happen this season than we do. Very violent and sad, but the message still is “you are not alone”. Fortunately, many characters are lucky enough not to be alone (even for some time) when the night is dark and full of horrors. Jon is between the dead and the living, as so many have stated above. I don’t think he will be changed into something horrible, remember Beric Dondarion, for 6 times resurrected by Thoros of Myr. He looked alive and behaved normally, he just felt that there were bits of himself lost. Maybe Jon will be less trustworthy and compasionate, but still not a cruel person. It set the same tone but we had a character to connect with.

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D. B. Bryan’s book about the Mullins’ ordeal, Friendly Fire provided potent roles for Carol Burnett as Peg Mullin, a mother left with no information to hang onto about the end her son faced, and Ned Beatty as Gene Mullin, the embodiment of the male stoicism of the times, at a loss all the way around—to emotion, his family, and himself. Friendly Fire won four Emmys, including for Greene and for Outstanding Special. G The Choice was an intriguing abortion drama, featuring a young unwed woman (Largo Woodruff) who discovers she’s pregnant but is unsure whether she should abort the fetus and not tell her potential husband. To the girl’s shock, her mother tells her that she once had a similar dilemma. World War III was a taut drama that presented as the Soviet counterpunch to a U. . grain embargo Russian paratroopers landing in Alaska to seize an oil pipeline. Rock Hudson starred with Brain Keith, David Soul, and Cathy Lee Crosby. Greene completed the production after his friend, Sagal, became the only director known to have been killed on location. Sagal walked into a helicopter rotor blade on Oregon sets. Less mannered but more intense was the murder investigation in The Guardian, about a New York apartment shooting that shakes up the residents, including impromptu sleuths Louis Gossett Jr.

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He planned to finance the property to repay his folks. That wasn't enough. To get a mortgage, the mother co-signed it, which meant she also accepted responsibility for it if it didn't get paid. In a third case, Boji said, the homebuyer was a doctor in his 30s. He qualified for a loan through a program set up specifically for physicians. Because the market was competitive, he needed to come to the table with a downpayment he didn't have. To some extent, agents said, some millennials are seeking more expensive first homes because during lean economic times many weren't buying homes, others just don't want — or feel they have the time — to do upgrades and renovations. 'I'm very grateful' Hauer said she wanted to own her own place so she could invest her money into something that could appreciate in value, a place where she could have friends over and entertain. She started looking at homes in person and online in the summer. By her third home offer, she said she wasn't taking any chances. Her parents — Denise and Eric Hauer — had helped her with college costs and are now doing the same with her younger brother, Austin, who is a junior also studying engineering. So, she went to her grandparents, Barb and Don Plotzka. They gave her enough money that when combined with her own savings she could put down 20% on the home.

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