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easy to witniss with series that have lost points in their ratings to change things up and not always are the results desirable ones. I do not think it will end up being that way, but I wanted to show my concern about it. One brief shot, from Doran’s perspective, so that people could pause the episode and read it if they so desired. Jaime knew that neither Doran nor Trystane had anything to do with the murder and was trying to avoid a war. He also knew that Cersei would have Trystane executed, so he basically sent him home. Of course, he also told Doran that he should execute Ellaria and the Sand Snakes. Those women knew that was the action Doran would take when he got the news, which goes to show why they retaliated by murdering the Prince and his son. It was a noble gesture on Jaime’s part, even if it failed. But I do think they should show it somehow that Jaime wants to avoid war. I stumbled across one of those last year, on Vulture (a website that I usually quite like). I don’t know if I’ve ever closed a browser window faster in my entire life. I also do think that in 99% of the cases, the ratings are quite non-relevant to HBO by now, I just wanted to address the possibility of the last 1% and the potentially negative results that may come with it. It does seem that they already have every step layed out before them and follow through accordingly, which is very nice. I’d like to see the resurrected Jon Snow kill Ramsay. War with Dorne represents a different scale of retribution than simply punishing the guilty parties. Perhaps Jaime simply wanted to avoid sentencing the innocent Trystane to death because of the actions that Ellaria had taken (he knew that Myrcella genuinely loved the young man, and the Prince loved her). If Doran had managed to round up Ellaria and the Sand Snakes and execute them all, I think that Jaime at least would have been sated. Now that both Doran and Trystane are dead and Ellaria is effectively ruling Dorne.

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Here, the sound of guitar-shredding metal is brilliantly appropriate for characters that can only get off in the aftermath of automobile wrecks. Shore twists about the music with their enthused, unholy fetishism, scraping, banging and clawing at all manner of iron and piano gut detritus to create a true “metal” score, but done in a completely unique way that’s anything but longhaired rock and roll. As topped with flutes, “Crash” has an Oriental Zen quality to it as well that makes the score even more hypnotically unsettling, going for voice-like tonal clusters that recall the pioneering moog work of Walter Carlos. It’s one factor that makes the re-polished “Dead Ringers,” “Naked Lunch” and “Crash” stand out more than ever as disturbed evolutions into the outer realms of movie scoring, as practiced with surgical, intellectual precision by two men who really know who to mess up human beings. But where the themes for his furious jungle drumming, sweeping romance and brassy adventure of “Zulu” and his Oscar-winning scores to “Born Free” and “Out of Africa” can be recalled by audiences the world over, 1965s “Mister Moses” is a score that’s essentially been in the dark continent of soundtrack obscurity, which makes their new Barry safari all the more thrilling. Despite their challenge, “Mister Moses” is a markedly more fun for Barry in its approach than the life-or-death challenge or raising an orphan lion club or guiding lovestruck Europeans to kill them. Led by the kind of rousingly repeated theme that the composer could write like no one else, Barry’s use of trumpeting brass is particularly appropriate for embodying the real, long-nosed star of the film, its pace led by native drum percussion. But while the western-style orchestra is rousingly present in “Mister Moses” as Barry notes the highlights of the journey like the Tarzan movie he never got to score, what particularly impresses is just how native the composer went to mostly convey darkest Africa at its brightest. Packed with devilish fury and eccentricity to spare, Masur’s music is a clever delight as it not only goes rampaging about in Elfman-esque fashion, but channels horror-indie energy into a uniquely comic sound that would be perfect for some Mike Judge movie down the line. There’s lunacy to spare in the off-kilter clocks of a “Firing Montage” to hilariously embodying the awful straining that produces “Meet Milo. And when it comes to the year’s best cue ever with “Myth of the Anus,” Masur uses with a cimbalom-like effect that might make you think you’re hearing the score to an absurdist werewolf movie, a diagnosis that that eerie violin of “Doctor’s Orders” only confirms. It’s all part of an amazingly successfully tightrope act as Masur walks the very, very fine line between cartoonish comedy and serious menace, often at the same time. It’s an attitude that also makes the movie’s one-joke, Troma-ready premise wildly better than any viewer or listener could possibly expect. Masur uses his limited musical means especially well with a wistfully poignant sense of child-like melody, a clanking xylophone and forlorn whistling giving us real sympathy for the little butt-devil, who nonetheless relishes in grand strains of swirling, nicely thematic horror action that ballsily goes for broke with raging chorus at its movement’s climax. At the least, “Bad Milo” has the best music ever written for a bloodthirsty hemorrhoid in the history of cinema. Undoubtedly, they’ll get a big musical shock if they hear how he’s equally adept at handling the styles of George Gershwin and Stephan Grappelli with the finesse he usually gives to Bernard Herrmann. The latter two are the jazzy partners in musical crime for this Italian comedy that finds a shady lawyer using hook and crook to reverse the record of a just-released, decades-long prison inmate. While his telltale, romantically heavy use of strings definitely tips us off to the composer’s far more dangerous identity, he’s effortlessly able to switch to a rhapsody in blue, tango’ing about with a strumming Gypsy guitar.


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“There’s some things they don’t teach you in medical school, doctor. True? “Indeed. For myself, a pot of China tea was all the refreshment I wanted. “I do hope Holmes is all right,” I said anxiously. “Perhaps we should take him something up? “Let him stew. Like your tea. The Inspector laughed, stretched out his legs, and addressed his beer with even more eagerness. “Here,” he said. “How about this? and he dropped his pork pie hat onto the head of a stuffed goat that was standing by the window, staring out menacingly at the rain-misted river valley. Even subtracting the goat, the bar of the Danescombe Hotel was a rum venue: crossed besom brushes on the walls, aquaria on windowsills and shelves containing the stuffed corpses of various reptiles and amphibians, and behind the bar, with one bony fist resting on the top of the till, a full length skeleton hung by the cranium from an ebony stand. Holmes retreated to his own room in a sulk, taking with him the dog, which he described as “the most intelligent companion I’m likely to find around here. As for myself, my own room was even smaller, but without complaint I put my clothes in the wardrobe, my towel on the radiator, my sponge bag in the bathroom and my books and alarm clock beside my bed, managing to make the little space quite homely and appealing. It was a sorry end to what had been a lively and profitable afternoon. Another group of rougher boys were in the churchyard when we passed on the way to our hotel, and they rocked a funerary angel as if trying to break it from its pediment. Lestrade intervened and chased them away, and Holmes sighed and remarked: “It is much simpler, Watson, to suppose that what we do not understand does not exist.


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This is probably a simplification of the narrative. Regardless, despite their main fleets being destroyed when Euron attacked Yara and then Grey Worm's fleets, Tyrion says they still have a handful left, which are suitable for just ferrying them off the island (perhaps to nearby Massey's Hook). Daenerys also probably wouldn't have sent literally all of her ships away from Dragonstone, but kept some sort of skeleton defensive fleet. The TV series largely glossed over how the Reach was subdued, given their large army and resources, even if Jaime managed to make a decapitation strike against Highgarden itself. Dorne, meanwhile, has simply no explanation: Ellaria and the Sand Snakes were attacked while on a fleet heading to Dorne to pick up the Dornish armies. Dorne's armies were thus not destroyed along with Yara's fleet. Dorne hasn't been blooded in the past years of war at all (similar to the Vale), so its armies should be at full strength. It is unknown who is even ruling Dorne at this point. On top of this, the TV show already mentioned that there are five younger Sand Snakes, all of them daughters of Oberyn Martell, who could potentially claim rule. The TV series might never provide an answer for this. In the books, he actually did marry Lollys Stokeworth by this point, but the TV series put that on hold to send him to Dorne with Jaime in Season 5. Bronn won the trial by intentionally aiming for his opponent's horse - which, while not technically an illegal or invalidating move, is seen as very dishonorable. In this episode, a Dothraki faces off against Bronn on horseback, but overcomes him by aiming for Bronn's horse and cutting off its leg - possibly a reference to Bronn's trial by combat with the Stokeworths in the books. It will be interesting to see what his choice will be after Daenerys's victory, if Tyrion simply offers him more gold up front. It's not sure if this is an intentional reference, but during the Dance of the Dragons, Rhaenyra Targaryen elevated several Targaryen bastards to be dragon-riders, but two of them later betrayed her to join her half-brother's side in the war. One of the reasons they switched sides is because they wanted to be rewarded with rule of Highgarden and Casterly Rock. It would have been very shameful and provocative to all of the other noble Houses to wipe out the surviving Lannisters and Tyrells and hand off their castles to lowborn, unacknowledged bastards, so Rhaenyra declined. As soon as they switched to the other side in the war, the two bastards once again wanted to be rewarded with rule of Highgarden and Casterly Rock.