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They didn’t. She’s still in the same blue dress she wore in the season five finale and walking on the ground, implying she’s been imprisoned. Actress Sophie Turner offered some hints at the Oscars. The resurrected Mountain looks like he’s about to take on the Faith Militant, led by Lancel, a Lannister and Cersei’s one-time lover. But then she spent all of last season cleaning dead people’s feet and went blind. Things aren’t exactly looking up for Arya in this trailer. Here she is getting slapped by some woman, probably in the House of Black and White based on the terrible lighting. But who is she looking at with that withering glare. Natalie Dormer teased her new scene partner in TIME. Might be handy when it comes to taking out wights (though based on the clothing the person being hunted in this scenario is a human being, not an ice zombie). Then we have some arrows—more war! and an exploding window—even more war. Presumably the Boltons are trying to hunt them down. Likely, she’s rather upset with herself that she missed that damn candle—you had one job, Brienne—and is out looking for Sansa as well. Could it be the resurrected body of Jon Snow (the live version of which she flirted with last year). Does dying exempt you from your Night’s Watch duties. The army on the right carries axes, suggesting they’re the Wildlings. No matter who wins, someone’s going to have to deal with the army of the dead coming soon to a Northern city near you. We also get a shot of two women making out because “it’s not porn, it’s HBO.

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The less logic one applies to the story, the easier it is to maintain the suspension of disbelief necessary to follow who’s still among the living. Its catalogue is also a good place to find young talents and trending ideas. When a spooky pediatrician, Dr. Janet Morello (two-time Oscar nominee, Jacki Weaver), finally decides to sell her rural home to the Ashers, she reluctantly leaves behind a family of distinctly grotesque ghosts. Teenage son, Evan (Harrison Gilbertson), may sense there’s something fishy about the place, but his parents are in no mood to buy into what they see as his fantasies. While walking through the woods one night, he meets Samantha (Liana Liberato), the sadly abused daughter of the Ashers’ alcoholic neighbor. They hit it off to the point where Mrs. Asher (Ione Skye) allows her to move into the house and tastefully enjoy the first fruits of young love with Evan. It’s convenient, because both share a fascination with the supernatural and can’t wait to test a transmitter box left behind by the doctor. Not surprisingly, they bite off more than they can chew with their investigation into the ghosts’ origins. Besides the romantic subplot, “Haunt” benefits from the enthusiastic performances of the young actors and some nifty special-makeup effects. What begins as an alien-abduction mystery turns quickly into a grisly splatter film, when a Maine redneck returns after two years from a sojourn in space. Mark (Josh Ethier) makes loud screechy noises when he really wants to scare people or suck things from their bodies through the long Pocket Hose Penis protruding from his mouth. It appears as if Mark has returned to reclaim his girlfriend (Vanessa Leigh) from another suitor. Meanwhile, their best friend Seth (Graham Skipper) is inexplicably experiencing nosebleeds and other premonitions of doom. Depending on one’s ability to withstand numerous images of gore and an ear-splitting soundtrack, the reasonably novel ending either will make up for the incomprehensible middle third or be just another thing that life was too short to waste time waiting to see. “Almost Human” may be far too excruciating an experience for most viewers to watch, but it’s short and the best gags may be indicative of a bright future for Begos. Don’t forget to fast-forward through the eight-minute credits crawl to find a brief closing scene. That last one wasn’t known until the Finnish film “Iron Sky” was released in 2012.

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That’s a bit obvious, coming from the man who could probably get an Aston Martin DB9 for his birthday and still manage to look miserable about it. Daenerys, meanwhile, is really bothered by the setting. She thinks the Targaryens should never have locked their dragons away, despite the fact that said dragons were uncontrollable killing machines. “They filled people with wonder and awe,” she says. Actually Daenerys they filled people with fire and tooth holes. Big difference. Before Tyrion returns with the news that he has saved their deal with Cersei, the couple manage to squeeze in one more reference to Daenerys’s alleged inability to have children. To be fair, last week we learned a pigeon can fly across half of Westeros in about two hours, so he really could have talked to her. Littlefinger sees the opening he’s been waiting for. “I’ve heard gossip that the dragon queen is quite beautiful,” he says, implying (correctly) that Jon is thinking with his dick. Bronn’s theory from earlier is looking better and better. Littlefinger also wants Sansa to believe Arya is plotting to kill her, which is admittedly plausible considering the handbag full of dismembered faces she discovered in the last episode. Get Sansa to strip Jon of his title and execute her sister, obviously. Then. something something chaosh ish a laddah? “Have you considered backstabbing your only allies. Works every time for me. Pic: HBO Source:Foxtel DRAGONSTONE Daenerys is in the map room planning her trip to Winterfell. Jon suggests she accompany him on his pleasure yacht, because it would be a strong display of military unity and.

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Despite the success and popularity of Our Gang, theaters were dropping shorts and focusing on main features. The shorts dropped from two-reel (twenty minutes) to one reel. Laurel and Hardy stopped doing shorts to do features films, as did the Rascals. Their first feature film, General Spanky, however, was not a great success, possibly because it focused on the adult leads more than the Rascals. Hal Roach was also debating on ending Our Gang; the unsuccessful feature film had been suggested by Louis B. Although the shorts were still doing success as one-reels, profit margins on the series declined and Hal Roach was just able to afford to keep making the shorts. Roach gave up his beloved Rascals to M-G-M with the proviso that he was not allowed to create or produce another kiddie comedy like Our Gang. The Rascals along with Gordon Douglas now reported directly to M-G-M for work, but Douglas only completed two shots before leaving M-G-M and returning to Hal Roach Studios now associated with United Artists. This was pretty much the start of the beginning of the end. Without Hal Roach, Our Gang became exactly what Hal Roach had vehemently resisted: creating another round of casual child actors. The studio was also trying to go for a more continuity-friendly series of shorts, quite unlike the haphazard style of writers at Hal Roach Studios who could never keep track of the style and depictions of the increasingly broad Our Gang universe being conjured by their peers. However, but in trying to create some sort of continuity, they mistreated the shorts by using them as a jumping-off place training area for prospective directors. None of the directors during this time had the magic of Robert F. McGowan or the vision of Gordon Douglas and it showed as the Rascals found themselves struggling for the first time to act. Eugene Lee, who played Porky, as well as the rest of the child talents all felt the palpable difference in studios. They had gone from being treated like kids to be treated like child actors. Another difference was that the majority of the shorts were being written and created by Robert A. McGowan, formerly Anthony Mack, who despite being the nephew of Robert F. He had been the director of a few lackluster shorts in the late Twenties, but he showed even less talent as a writer.

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. “the cheese grater”), Shanghai’s multi-use “vertical city”; and, back to NYC, for the One57 “billionaire building,” which, we’re told, will redefine luxury living in the big city. There’s no denying the mini-series’ more awe-inspiring aspects and the undeniable fear-factor of looking down on the less fortunate among us. They also provide jobs for thousands of ironworkers, carpet weavers, quarrymen, janitors and the occasional architect. Anyone interested in modern architecture and construction technology should love it. Such, though, is the power of Nickelodeon’s “SpongeBob SquarePants” to dictate the issues of most importance to the American punditocracy. Amid the national debate on the Affordable Care Act, the show’s writers created the special episode, “ Spongebob, You’re Fired,” in which Mr. Krabs boots SpongeBob from the Krusty Krab, where he was a fry cook. Krabs did this after learning he could save a nickel by eliminating the position. As topical as the episode might have been, commentators found ways to indict the kids’ show for comments made by Patrick the Starfish, extolling the virtues of unemployment. Al Sharpton couldn’t resist rising to the conservatives’ bait by “standing up for poor people” on his MSNBC forum. Not surprisingly, this tempest in a teapot helped the episode garner the show’s highest ratings in two years. His position and connections ensured a life of privilege, culture and access for siblings Peter, Lucy, Joanna and, as is evidenced here, the highly photogenic Carly Simon. Portraits of Carly and then-husband James Taylor are sprinkled through the presentation. At the same time as Simon was attending East Coast prep schools and photographing antiwar activists at Boston University, he also was opening doors to people who would allow to shoot photos for fun and profit. These included editors at Rolling Stone magazine, who provided access to artists that had yet to reach their commercial zenith. There’s hardly a Boomer icon that Simon didn’t shoot in the mid-1960s, often while sharing the stage with them. While some of these early photographs are still in demand, Simon continues to make money by capturing some of the same performers in their dotage. Anyone who’s followed the popular-music scene over the last 50 years will recognize many of the 300 photographs included in “Through the Lens.

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With: Christie Burke, Jesse Moss, Rebecca Olson, Michael Ironside, Jenn Griffin. Canada 2017. 87 mins. For Mary, the joy of her infant son Adam’s birth is overshadowed by the devastating stillborn death of his twin brother Thomas. Concerned husband Jack relocates them to a spacious new home in secluded suburbia while Mary makes fast friends with their neighbor Rachel. But fresh faces, new surroundings, and even post-partum medication can’t spin Mary’s haunted motherhood mindset off its deepening descent into horrifying depression. Soon she’s convinced that an otherworldly evil wants to claim her remaining baby for its own. Is it madness or is something paranormal not going to stop until another child has been eaten alive. As their sordid, small-time lives collide, they must fight tooth and nail to save a pregnant woman from certain and gruesome death. With: Doug Jones, Caleb Thomas, Christian Kane, Juliet Landau, Sarah Lancaster. USA 2017. 80 mins. Fifteen-year-old Timmy Stevens is brutally beaten up by High School bullies on Halloween. With: Alexandra Shipp, Brianna Hildebrand, Josh Hutcherson, Craig Robinson, Kevin Durand. USA 2017. 90 mins. The freshest, funniest, most frightening slasher send-up since SCREAM. High school seniors Makayla and Sadie are obsessed with their social media presence as authorities on crime. Their interest in murder is more than just academic though as they are the hands-on type.

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He knew the play-it-safe pressures that followed: scripts written by committee, endless negotiations about how to appeal to Middle America and China, the eternal war between commerce and art. Yet if the film makes money, which it usually does, Blum takes 12. percent of the first-dollar gross and then splits the rest of the profits with the major cast and crew. They're not working with Blumhouse for the exposure and certainly not for a mega-paycheck. To directors, what Blum offers is even more rare: final cut. But first, Blum must get them to agree to his price. He escorts potential filmmakers to the main lobby, where there's a collection of framed pictures of every Blumhouse director. You don't have to follow them. As soon as you tell a director that, the phone rings in five minutes. They are desperate for your ideas when they know they don't have to do them. One of the problems with Hollywood filmmaking is that the director spends a lot of energy trying to figure out how they're going to maneuver people to get what they want. Like when The Boy Next Door 's Rob Cohen had his teen stalker gift Lopez a “first-edition” of the oral epic, The Iliad. He'd be like, 'This is a time where you can do those things. Two days after that, Keegan-Michael Key and Peele announced that they were ending their show, and two months after that, Peele broke the news that he'd be writing and directing a horror film, Get Out, for Blumhouse. It's lunchtime, and instead of eating out or huddling over individual salads, Blum's employees are feasting on communal piles of take-out food. One corner is splitting a heap of burgers and fries, another a stack of pizzas, a third Taco Bell. Blum speed-walks past a length of bare white cubicles. He advises directors to cut unnecessary speaking roles. Second, most of his films are shot in one location.

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