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I don't know if they're rerunning it, but I'm sure it can be had online. The show is going to pass the books and actually spoil them as they will have a similar ending. Daenerys Targaryen loses all of her hair in the book and has a difficult time controlling her dragons- she's also topless most of the time and is cavorting with the females in her life more than the males. The Others thing with the babies is contrived for TV. Even some characters in the series that don't even exist in the book. You can find them on any torrent site if you are so inclined. Ahh, first world problems. Open question to the book readers, what are your opinion of the show getting ahead of the books. It would have been nice to have the series of books finished a long time ago, but there's nothing we can do to change it. There are now significant differences between the two. I'm indifferent. And I'm not going to watch the leaks. My wife and I watch it every Sunday night and I think it's more enjoyable that way. As IM said, if we watch them all now, we'll have to wait a month for the next episode anyway. I actually enjoy the show more than the books anyway. Did a single thing that occurred in episode 6 actually happen in the books. I haven't been one to worry too much about the differences between the shows and books but when absolutely nothing in the episode is the same, I have to question what is going on. Some publications are now refusing to continue reviewing and promoting it. It's not the first time this has happened of course and ratings continue to increase, but I'm starting to dislike several of the decisions that are now being made.

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As it is, I think they are doing a great job with what they have left to work with. As someone mentioned earlier in the thread it does not matter if we get to the ending if we stop caring along the way. Things like battles being won not by the smartest people or the people with the biggest armies, but instead by whoever the plot the demands to win to create tension makes me lose investment in the characters and storylines. I am already a lot less invested in the southern war storyline than I was a few seasons ago. Wether it was poor planning or things changing during production the writers backed themselves into a corner and have been sloppily getting out of it. Dany being way too overpowered and Cersei underpowered to be a threat being the main offender this season. Another big problem that I have both with this season and last is that it seems like the only way the writers know how to make someone look smart is by making everyone else incompetent. They have done it with Dany and her people like with their nonsensical plan to take Casterly rock and with Sansa this episode where they show how good of a ruler she is by having the Maester not know how long winters can be and having the armorers forget how to make armor fit for winter use. A last critique from me is more of a nitpick, but the Dany line about centuries of Targ peace and prosperity was so ridiculous. Either Dany knows nothing about history or she was trying to maybe tell the worst lie ever. One of the Targ kings was literally named Magor the cruel. Probably the worst war in Westeros history was the Targ civil war that then led directly to four more wars in the form of the Blackfyre rebellions. To be fair there were also good Targ kings and good times under them. On average the Targs were neither any worse or better rulers than anyone else and the times they ruled were neither more peaceful nor more prosperous than other times either. On the good side the acting continues to be good to great (with the exception of Clarke). You have the usual greats like Davos and Tyrion, but Lena Headey and the Queen of thorns both absolutely killed it this episode. Their respective scenes were definitely the highlights of the episode. While the main story arc continues to have some serious issues we got some great acting and some good character moments this episode combined with the usual fantastic production and spectacle. It was a mixed bag similar to the two previous episodes.

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A b d e s s e m e d h a s p e r f o r m e d appropriations less overt than this with other works: the dimensions of his Helikoptre (I) (2007) drawing, for example performed by the artist while dangling upside down from a rope attached to a hovering helicopter correspond exactly to those of Gricaults Raft of the Medusa (181819). And the measurements of his large bas-relief of taxidermied animals, Whos Afraid of the Big Bad Wolf (201112), match those of Picassos Guernica (1937). These correspondences perform some form of mystical mimesis, stealing powers from the original works and indexing them in their elevated canonical register of iconic value. Does this work? Of course it does, once it is pointed out to you, but it feels a bit hollow: an inside joke, a gag. Compared to these contrivances, however, Abdessemeds little girl provokes a veritable firestorm of incendiary associations. Yet it is still difficult to see how, in her present form, she is in any way political; and there is nothing, beyond her decontextualised nakedness, that is particularly contentious about her. The title, borrowed from Munchs Scream and perhaps Ginsbergs Howl (from a David Zwirner press release: The title of the work, Cri (French for scream), is a direct reference to the poem by Allen Ginsberg (Howl, 19541955), which denounced the destructive forces of capitalism while also reflecting the authors anti-militaristic views) seems to suggest a broader existentialist meaning. On 8 June 1972, Phan Thi Kim Phuc cried, Nng qu, nng qu (Too hot, too hot). Cry is the word that Abdessemed uses most often in interviews and statements to describe his acts, be they cars or Christs: It is a cry; and I am an artist of the cry; and The only reality that matters is the cry. His napalm girl, however, is at best an echo chamber, borrowed for her resonant capacities but otherwise empty, gutted of all performative meaning except, perhaps, an ability to convert provocation into commodity. Drowned out. Like so many signals bouncing around in the general hubbub of the everyday, the reality of her cry and his are lost in the noise. Adel Abdessemed: Je Suis Innocent is at the Pompidou Centre, Paris, through 7 January; a solo exhibition of his work, Vase Abominable, is at David Zwirner, London, from 22 February through 30 March By Kimberly BradleyPhotography by Andrea Stappert Must art-driven gentrification always follow the same trajectory. I arrived too late to experience the first post-Wall art hub on Auguststrasse, but watched gallery migration occur under bridges (Jannowitzbrcke), behind landmarks (Checkpoint Charlie), in an old department store (Lindenstrasse), on a grotty side street (Brunnenstrasse) and in industrial halls along smelly canals (Heidestrasse). For the past 20 years, gallery districts have cropped up and disappeared like fairy rings in the forest. City Focus92 The most recent cluster, however, looks different slower, more eclectic. Interestingly, some were leaving white cubes for more residential spaces, most tucked into back courtyards or on upper floors, ie, nearly invisible from the street. We came here because it was completely different, says Martin Klosterfelde, whose gallery occupies a grand beletage apartment City Focus: BerlinThe first in a three-part series Part 1: Gentrify This at Potsdamer Strasse 93 with ornate wood mouldings and French doors a dramatic departure from the white cubes he had on Zimmerstrasse.

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