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Autor Tema: ssrgbs We see that as our competition  (Pročitano 5 puta)

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ssrgbs We see that as our competition
« poslato: Maj 14, 2019, 05:15:49 pre podne »
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« Odgovor #1 poslato: Maj 14, 2019, 05:17:56 pre podne »
The Hawking biopic, “Theory of Everything,” which chronicles his ALS diagnosis at age 21 and significant scientific breakthroughs, arrives in theaters on November 7th. Watch the trailer below:
 
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Between the attempted sexual assault of Gilly and Sansa’s rape tower, it still wasn’t a great episode as far as matters of sexual violence on the show go. The problem that “Game of Thrones” encounters more often than not when it attempts to tackle these smaller, more human moments of the aftermath of trauma, is that it’s just not built for it. There’s no way to sufficiently capture the grief of Sansa after being raped because there are fifteen other characters that need servicing in each episode. The same was true when the show used to do its “Theon’s Torture Time” drop-ins during season three. There was no way to adequately build out the ramifications of Theon’s fate because to do so would require far more of a time investment than the show could afford. So when people say that “Game of Thrones” should stop featuring rape as a plot, it’s not so much that it should stop featuring rape just because rape is bad. It’s that they should stop featuring rape because it is physically impossible for the show to portray it in the sufficiently grave light that it deserves. As it stands, Sansa’s fate leaves two possible options for resolution: Either she rises up, more powerful than before and uses her rape as PROOF that she is a STRONG WOMAN and she has OVERCOME ADVERSITY (which conveniently overlooks the fact that she’s already overcome the razing of her home, the ritual slaughter of her family, her near first marriage to a sadist, etc.) or she’s rescued from her terrible fate by outside forces. Either way, those aren’t great options and they aren’t great justifications for making that particular story choice.
 
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At this point there is almost an entire genre of movies about the Deeply Disturbed European Family, going back to the postwar art-house cinema boom and carrying well forward into the shifting cultural landscape of the 21st-century European Union. “Goodnight Mommy,” a terrifying, atmospheric and exceedingly well-crafted psychological thriller from the Austrian writing-directing duo Severin Fiala and Veronika Franz, is being promoted for American release as a horror movie after a year of building buzz on the festival circuit. So it is, believe me – if you are looking for reassuring conclusions and redemptive messages about the state of humanity, you will have to look elsewhere. And while there are no special-effects monstrosities or oceans of gore, the shocks delivered in the final act of “Goodnight Mommy” are extreme enough for any horror buff.
 
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