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Director-designer Douglas Fitch, one of America? most celebrated visual artists, has set this timeless story in a new way that promises to fascinate adults as well as children. ? ansel and Gretel are every one of us, at the point in our lives when we face what we most fear to grow a step more confident about who we are becoming,? he said. ? heir story is a collective dream that is still evolving, a primal, animist myth forged by centuries of tellings from near bedsides to within opera houses. Our version takes place in a universal mindscape where every now is then, and then isn? quite as remembered. This summer, Douglas Fitch directed and designed a triple-bill of Paul Hindemith? There and Back, Igor Stravinsky? Mavra and Elliott Carter? What Next. Engelbert Humperdinck composed Hansel and Gretelto a libretto by his sister Adelheid Wette, after the classic fairy tale collected and published by Jacob and Wilhelm Grimm. Humperdinck? opera, strongly influenced by Richard Wagner, features some of opera? most beloved and memorable melodies, including the beautiful ? vening Prayer.

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Here I want to look more closely at the woman’s body as the site of horror and the entirely domestic setting of both movies and the way the films’ form may inflect the representations of gender in the films. Even ghost and haunting movies over the past 40 years have often included gore and bodily abjection as part of their horror. Yet these movies feature a few shots of the bite marks, scenes of characters being dragged by their feet, and precious little else. In some ways, the unseen horror harks back to the classic Val Lewton cycle of B horror movies: the purring or growling of the off-screen panther in Cat People (1943) leaves more to our imagination, which is almost always scarier. In the first PA movie, Micah sets up the video camera on a tripod in front of their bed and makes jokes about taping their lovemaking, but doesn’t. What the camera does record is mostly them asleep, startled awake, or Katie physically controlled or possessed by the demon. The characters are flat and undeveloped; we aren’t encouraged to care about them as individuals, nor to worry about their relationships. We can see that the male partners are condescending and dishonest with the female partners, which does build some narrative tension, yet it’s hard to get emotionally involved in such superficial, undeveloped characters. I couldn’t even tell Katie and Christi apart during my first viewings. This is partly because they are supposed to be sisters and thus look a bit alike—both have longish, dark hair and are close in age—but also because they are pretty shallow and vapid. Their names sound similar, they live in similar generic-looking houses, they dress in similar clothes. They have no memorable identifying characteristics and, unfortunately for my comprehension of the plot, they were for a while interchangeable. Thus while neither woman seems to have a job, one of them at least does, along with the “nanny” (maid), participate in reproductive labor. Yet this very human relationship—the mother and infant—also feels somehow shallow. As we learn more about the demon, the baby in the second movie is revealed to be the demon’s object of desire, the currency with which it can be paid off. So even the baby—the material result of the woman’s (and the maid’s) reproductive labor—is in a sense transformed into an object of exchange. I agree with Steve that the movies themselves, and the “real” video footage in them, is a digitization of the characters and their bodies and their pain—unlike celluloid, there needn’t have been an actual material body before the camera interacting with light to make a physical imprint on a negative, and the images are reduced to, literally, data and digits. That abstraction away from materiality is in itself scary; maybe if there were more conventional gory visuals the movie would feel more grounded in material, concrete, or fleshed-out ways.

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If the last battle is at Trident as Dany saw it in the books, all the more likely. More inclining to him being killed than being a King as his arc. I think that being very leery of Lannisters is in the Starks best interest. Tyrion killing him does not mean to me that Lannisters are off the hook for that. And I’m including Tyrion as a Lannister, of course. She even call hi mto be her family or in other words I love you. Their scenes were good and remember Ned said to Arya she would marry a Lord and have children. This is their arrival, later on Jon is free to walk around and can leave if he wants. OTT wild speculation due to “leaks” on other sites get no truck here, instead, most commentators are fairly level-headed and restrict their speculation to the actual filming spoilers. It’s good to have a vivid imagination and think outside the box! and that’s just what I like. I do not want to have the full story before the season. But then, I never felt spoilers really spoiled anything for me. The anticipation is even more intense and I want to see how it’s all done. But no, he said that Jon stays at Dragonstone as a “guest” (notice the quotation marks, he’s not really a guest in the purest sense of the word) because he can’t leave as they took his weapon and boat away and did not bother to give them back to him after the talks. He stays on the island while Dany goes off to attack the Lannister forces. They didn’t film in the house at the top of Gaztelugatxe, just the stairway. From what I remember, and granted I could be wrong because I have not read them in a while, Jamie never expresses any true regret for the injuries caused to the 8 year-old Bran.

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