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Kita melihat Roman dan Wulandari melempar kata-kata romantis lewat hape mereka. Tetep mesra, namun toh setelah sembilan bulan berjauhan, jarak itu kerasa juga. Wulandari pun semakin insecure, terlebih saat dia mengetahui Roman punya kenalan berwujud cewek yang manis banget bernama Meira di sana. Aku jadi merasa kayak mas-mas creepy yang diam-diam ngintilin anak-anak muda tersebut lagi pacaran, anak-anak muda yang nunjukin persahabatan dan berusaha menyelesaikan masalah mereka, di sepanjang jalanan kota Amsterdam. Chemistry Arbani Yazis dengan Adinda Azani menguar luar biasa, baik itu di adegan mereka rayu-rayuan maupun lagi marah-marahan. Hebatnya, kita tahu yang tokoh mereka rasakan tersebut bukan cinta-cintaan. Aku suka gimana Azani memainkan gesture dan intonasi marah-tapi-malu-malu khas cewek. Meira di tangan Cut Beby Tshabina tampak keren sekali bermain sebagai cewek misterius namun sedikit agresif. Tapi mungkin yang paling likeable di antara semua adalah Umay Shahab yang memainkan Samuel, sohib Roman, yang bertindak sebagai voice of reasons; perantara Roman dan Wulandari, memberi mereka sudut pandang lain yang tak jarang muncul lewat candaan khas anak muda. Jadi, beberapa hal yang sudah ter establish ga bakal diberikan penjelasan lagi di film ini. Kita tidak akan mendapat backstory kenapa Roman dan Wulandari saling cinta. Latar ekonomi dan keluarga saja hanya diinfokan sebagai bagian dari candaan. “Mereka sudah begitu sejak dari SMA” jawab Wulandari kepada Meira, yang sama orang-luarnya seperti kita. Kita melihat hubungan Roman dan Wulandari terancam ketika Roman didekati oleh orang asing, Meira. Dan cara menyelesaikan masalah yang ada ialah dengan mengenal Meira lebih dekat, menjadikannya sebagai teman. Seperti saat Wulandari mendapat kesempatan untuk menjalin pertemanan dengan cowok asing yang ia temui di sana. Atau bahkan, saat sudah menjadi teman, bukan lantas membuat orang tersebut tidak akan membawa masalah. Ketakutan dan masalah dan resiko itu akan tetap ada, kita seharusnya tidak takut, karena semua yang akrab itu berawal dari sebuah keasingan. Tapi jika kita menilik ceritanya, Rompis sebenarnya dekat dengan film drama cinta yang menurutku underrated tahun ini; Eiffel I’m in Love 2 (2018). Roman mengingatkan kita kepada Adit di film itu; dia menggantung Tita karena merasa dirinya belum mapan untuk menghidup Tita.


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She seemingly exists more to boost Arya’s character than seek anything of her own—and forget a complex personality; even though she’ll go on to change her face, she doesn’t even change her facial expression for episodes on end. Even among his own family, the dour occupant of the Seastone Chair is the least memorable; compared to the tormented Theon, swaggering Yara, and brash Euron, all that stands out about Balon’s personality is perpetual grumpiness. After losing in his initial rebellion between Robert’s Rebellion and the events of Season 1, Balon seems to lose much of his ambition, too—remember, even as he advertised his “pay the iron price” ideals, the extent of his planned involvement in the War of the Five Kings amounted to raiding secondary Northern castles and small coastal villages. (Theon defied orders to sack Winterfell; Balon didn’t even dream that big. He’s a villain to Theon but nobody else in the current generation. And while Locke’s dismemberment of Jaime is a crucial moment, his arc—much like his character’s pulse—flatlines thereafter. His ultimate motive is fealty to his feudalistic superiors, not a search for power in his own right. On the other hand, no other aspect of Sam’s draconian father is refreshing. He’s harsh and bigoted and a poor host of dinner parties, and he appears in only a few episodes before meeting a draconian—er, Drogonian —end. This detail boosts Randyll’s Importance score and places him in the same mold as other bad fathers from which the story’s heroes try to break away. But ultimately, he fares well in only one category, Fear: His combination of personal terror to Sam and broader, well-recognized prowess as a military leader—he dealt Robert Baratheon his only loss during the rebellion—is the main factor in his ranking. They completed a coup by executing every other member of their city’s governing body, they skewered guest right (if that custom exists in Qarth, as it does in Westeros and the Free Cities) by inviting Dany in and then butchering her followers, and they stole her dragons. That series of events contains a mix of Cersei’s, Walder Frey’s, and the Night King’s actions—not a bad villainous trio to mimic. They offer few memorable quotes, they never interact with another main character outside Dany’s arc, and they are dealt with swiftly. Their villainy is ultimately as empty as Xaro’s vault. Their masks were cool; their music was cooler; their colorful garb stood out against the Unsullied soldiers’ drab shades of gray and brown. Unfortunately for their ranking, the rest of their profile fell far flatter. Even as they accomplished feats like killing Barristan Selmy and cornering Dany in Daznak’s Pit, they still felt like more of an irksome nuisance than an actually vital villain. Because that reason is so obviously, inherently evil, there’s no nuance there, which is part of the reason Dany’s Meereenese slog felt less vibrant and lively than a character of her stature should have commanded. It’s fitting that the Qartheen and Slaver’s Bay villains appear back to back: At least until Season 7, Daenerys was saddled with some of the least compelling antagonists on the show’s run.


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Dowling’s film of the John Millington Synge play starred Colm Meaney and Larry Gates. Downes also directed episodes of The Works and Changing Stages, and produced as well. Cliff DeYoung starred with Tom Aldredge, Asa Gim, Anne Jackson, Brad Sullivan, Alan Cauldwell, and Joe Fields. The controversial nature of the piece led CBS to postpone the airing, then dump it during the end of the rerun season in August. JIM DRAKE Movies: This Wife for Hire (1985), Goddess of Love (1988), Based on an Untrue Story (1993), Star Struck (1994) Drake’s taste in offbeat comedy included the series Mary Hartman, Second City TV, Forever Fernwood, and Buffalo Bill, and the truncated feature Mr. Bill’s Real Life Adventures (1986). This taste didn’t stop him from directing Police Academy IV: Citizens on Patrol (1987). Pam Dawber starred as an actual wife who hired herself out for various activities that her hiring “mates” require, except sex, in This Wife for Hire. Vanna White was The Goddess of Love, Venus, come to Earth as an option for a no-account guy (David Naughton) married to Amanda Bearse, the next-door neighbor in the sitcom Married. with Children, so that he comes to his senses about the precious wife that he does have. Based on an Untrue Story was by far Drake’s best movie, starring Morgan Fairchild as a perfume maven who, on the verge of releasing a new scent called Puppy, loses her sense of smell. Star Struck starred Kirk Cameron and Chelsea Noble as a country guy and a movie star who had been fast childhood friends and meet again in adulthood to rekindle their puppy love of long ago. ANTHONY DRAZEN b. 1955 American Playhouse: The Sunset Gang (1991, co-directed with Calvin Skaggs) Drazen’s features have all been superbly directed and performed, including Zebrahead (1992, aka The Colour of Love), Imaginary Crimes (1994), and David Rabe’s Hurlyburly (1998) with Sean Penn. Drazen also directed the unsold NBC pilot EDNY (2003) starring William Baldwin. Drew directed the features The Right Hand Man (1987), Whipping Boy (1996), and Hildegarde (2001), a family movie about a duck. Trouble in Paradise stranded Raquel Welch on a tropical island about two decades after her great popularity, but she abides. The cranky hermit she finds is played by Jack Thompson. Through My Eyes starred Miranda Otto as Lindy Chamberlain, the mother of a little girl who was supposedly hauled off by a dingo at Ayers Rock in the Australian outback and never found. Meryl Streep received an Academy Award nomination for portraying Chamberlain opposite Sam Neill in Fred Schepisi’s A Cry in the Dark (1987, aka Evil Angels).


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She scrambles over a quite high dividing wall into next door. Interior of a more cluttered working-dass sitting-. Sir Vincent: So horn now on we're going to do things my way. Outside the door are two gas men with a new cooker. First Gas. First Gas Man: (looks at a bit of paper) Road, yes, says here. Yeah. Right, could I speak to Mrs G. Mrs Pinnet: Oh there's nobody here of that name. It's Mrs G. Pinnet. 46 Egernon Road. Mrs Pinnet: Well there must have been a mistake, because the address is right, and that's definitely. What we can do for you is take it back to the Depot, get a transfer. We'll special it for you, we'll get it down there today and you'll. Second Gas Man: Oh, but she'd have to fill out a temporary despatch note. First Gas Man: Yeah we could leave it on a temporary despatch note. First Gas Man: I know, it's ridiculous really, but there you are. Right, would you sign it down there please, Mrs Crump. Listen, just for the books make it a bit easier, could you sign it Crump-.


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“I can only repeat: my last publishers were so good they spelled my name wrong in the books, made sure they had covers in 50 shades of mud, and kept them out of the shops. HarperCollins are bringing out Small Gods in January and are talking about some kind of accelerated schedule to catch up. That means in theory that new Discworld books should be published in the US at (more or less) the same time as in the UK. But it leaves Lords and Ladies and Men at Arms in a kind of limbo; HC are committed to bringing them out “as soon as possible” and it’s in their interests to do so, because they’ve had to front advances which they can’t recoup until they start selling. “Blame publishers. HarperCollins have got Lords and Ladies, Small Gods, Men at Arms and Soul Music. As for the Map. I suspect it’ll never get a US publication. They don’t seem to understand it. “That seems to point up a significant difference between Europeans and Americans: A European says: I can’t understand this, what’s wrong with me. An American says: I can’t understand this, what’s wrong with him. I’m paraphrasing his far more diplomatically worded comments). As I understand it, Lords and Ladies and Men at Arms will come out in trade paperback “fairly soon” after Soul Music, to get them out of the way — ie, to desperately try to catch up on the schedule. Basically, it’s the usual arrogance of US publishers towards their readers — and counter-productive, since I know that quite a large number of UK editions find their way into the US. “The twisted thinking is as follows. Thousands of hardcover UK Discworld books cross the Atlantic after every pub date, certainly undermining the sales or potential sales of US copies; this pattern has become established because of the long delay before US publication. This would mean that Lords and Ladies and Men At Arms would be late, but they’d have been late anyway, and titles from Soul Music on would have an American pub. Unfortunately, it has contained one major flaw, in that it is being put into practice. The One Horseman and the Three pedestrians of the Apocralypse 14. They’re still not a dead issue, but suffering as do many things when people at the top change: no-one likes to be associated with something started before their WORDS FROM THE MASTER time.