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We all know the horrors that Sansa has faced ever since leaving Winterfell. The creators of the show also nod to this with the style of Sansa’s hair in the scene. Sansa herself admits that she learned a lot from Cersei and that can be seen in her cold logic while arguing with Jon on how to handle the situation with the Umbers and the Karstarks. I don’t think either of them were wrong in that argument. Sansa was just approaching it from the same cold worldview that cersei has. And once we saw the two children that have now been thrust into leadership of their houses, I think it’s hard to argue against Jon. And I also think the boy’s name being Ned, obviously named after Ned Stark, is a nod to just how close these families were and how deep that betrayal was felt. Cersei is obviously scraping the bottom of the barrel with this guy to find allies. That priceless gift he referred to at the end of that scene was brutally ominous for any heart broken and trust issue riddled GoT fan. I will go more into this later when I discuss predictions for this season so far. The only thing ever tying her down was her love for her children and now that that’s gone, she is completely untethered. Just the look of heartbreak on Jaime’s face when she called their son’s suicide a betrayal shows just how much she’s left all reality behind. I’ve never committed to anything in my life longer than I’ve committed to waiting for her to make this move. I don’t think we’re going to see her stay at dragonstone for very long. She seems more motivated than ever after stepping out of that fire (looking smoking hot, pun intended) in Vaes Dothrak.

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These include actor Simon Callow, actress Julie Peasgood, Sir Ben Kingsley, actor Jenny Agutter, directors Peter Sasdy and Jake West, director Mark Herman and historical consultant Dr. Jacqueline Riding, Puppeteer Marcus Clarke, directors John Hough, Waris Hussein and Michael Armstrong, actor Sir John Hurt, Monty Python’s Terry Jones, Brian Blessed and Paddy Considine. In addition to that is QUAD’s Fright Club where a mix of brand new terrors from home and abroad are enjoyed alongside the pick of the archive classics. Every month, Cult Film Historian Darrell Buxton introduces some of the best horror films around for Midlands horror afficianados. As well as those regular events they also host their annual 24 hour film-making challenge at the end of the Derby Film Festival. It sees participants of any experience produce a short film of three minutes over the course of 24 hours before they are screened to the public with awards given to 1st, 2nd and 3rd place. Starting in Derby but now spreading to stately homes and grand venues throughout the UK, they have given the chance for audiences to enjoy the great outdoors for a unique cinematic experience. Read our thoughts on The Forces Awakens screening in the Midlands here. Attenders are advised to bring their own camping-style chairs to sit on. If the outside isn’t your cup of tea, then QUAD’s “The Best of 10” ten-film season includes ten titles chosen from each year that the venue has been open and takes place between August and December 2018. Alongside the ten films, QUAD asked the public to vote for their favourite film shown at the venue, which will be shown as the final, eleventh choice. But we haven’t even mentioned the film clubs, education and quiz nights so please go to to get involved in many more creative events. With a comprehensive cinematic schedule running throughout the year with events catering for all tastes, ages and backgrounds, we wish all the staff, crew, films and filmmakers all the best for another decade of fantastic film feasts. Last week I had the pleasure of attending the festival again hosted by QUAD, this year it kicked off on the 4th May followed by ten days of screenings, talks, short films and competitions. Similar to last year’s sub-festival Fantastiq, the first four days of the festival were dedicated to Paracinema, a celebration of films and genres outside the mainstream including new releases and cult classics.


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Me, I like it better than most of his others in his undead series ( City of the Living Dead, Zombi 2, The Beyond ) as he keeps the focus so narrow--so localized and nightmarish, tapping the same vein of cabin fever time-bending paranoid 'always been the caretaker' interiority that make films like The Innocents, The Haunting, and The Shining (see Pupils in the Bathroom Mirror ) so effective. Nothing evaporates the supernatural like the intrusion of cops and shrinks, fire arms, witnesses, panicky groups of holed-up survivors, reporters, etc. - and nothing condenses it quite like communication failure between isolated, dysfunctional family members. Lastly there's Danny Torrance-style psychic son Bob (Giovanni Frezza--burdened by one of the lamest voice characterizations in Italian horror dubbing history). Bob's main communication is with the murdered girl, Mae Freudstein (Silvia Collatina) who urges him not to come--but what parent ever heeded a tow-headed third grader's babbling (and why isn't he in school? . There's also the ever-enigmatic and smoldering-eyed Ania Pieroni (the music student young witch in Inferno ) as Anna the babysitter. But then the door opens--Norman flashes the flashlight through the thick cobwebs and we wonder if Freudstein really does live down there or is some kind of a ghost. And then--before Norman can look around--a bat attack. No other film of Fulci's is so rife with childhood nightmare faithfulness, and so void of cold logical counterpoint. Italy's other great horror maestro of the period, Dario Argento, still turned to logical cops and psychologists for eventual explanation but in House Fulci forgets about cops and rationale as the time window is just too short. By the time the progressively more deranged and horrified recordings left by Norman's mentor reach the part about Freudstein keeping himself alive in the basement via a steady stream of replacement organs and limbs shorn from new tenants. Bob is already locked in the basement, with Freudstein--one of the most genuinely unnerving Italian walking corpses--shambling towards him. As with Carpenter's Halloween (i ts sequel was in drive-ins the same year as this ) this has sort of melting clock tick-tock momentum, wherein time moves slower than real life while never actually being in slow motion - so moving across a room to open a locked door (ala Leopard Man) can seem to take forever the more you crosscut. For example if we see a Laurie Strode running from point A to B and then cut to Loomis walking down the street from house 1 to house 2, we wouldn't cut back to Lauruie now running past point C or D but still running past B where we left her --then when we cut back to Loomis he'd still be walking from house 2 to 3, back to Laurie running past D.