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From his first introduction into the show, where we spent a whole goddamn season watching his pointless torture porn nonsense with Theon, all the way to now, this guy has never done anything remotely thought provoking. Joffrey was a psychopath that actually served a more interesting purpose in the story, because he was given an enormous amount of power through his birthright, but he was fucking crazy, so it was interesting to watch how everyone around him tried to deal with him, like tyrion, tywin, cersei, margorey, etc. Joffrey himself wasn't particularly interesting, but watching the ppl around react to him was good. But Ramsey doesn't really have those same social dynamics around him, which is why his existence seems so pointless and boring. He's a great character because he has purpose, does large things that seem plausible, inspires lots of interesting plots around him and offers a lot of great reactions and scenes from the other characters that interact with him. I think it's very beneath the quality of the rest of the series overall and defies the complex and interesting characters it's known for. I think it's trippy and cool, and I'm usually really against stuff like time travel paradoxes. He's like a Cannibal Corpse record made into flesh. Maybe its that little suppressed misanthropic part of me who relates to him. Sometimes when some guy at work is giving me shit during the course of my day, I think it wouldn't be so bad to flay him living, wouldn't it. I dislike him because I find him to be a paper-thin character that has worn out their purpose and welcome and, in a series full of morally complex and unique, believable and intricate human beings such as but not limited to the Lannister family, the Stark family, Peter Baelish and Red Priestess Melissandre, he is an outlier of a simple, basic, generic psychopath of a character and, unlike Joffrey, inspires no (or little) fascinating reactions in the surrounding characters. It seems like a forced and generic character with no arc in a franchise heralded for its naturalistic and unique progression and character-building. I would also say he's inspired some pretty fascinating reactions in other characters. The guy went from being a cocky narcissist and now he can't talk without twitching and sounding like he's on the verge of tears.

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The new battleground for studios is not for the highest seat count screens, but rather for 3D-enabled screens, which create a supply problem during peak release periods. We expect this problem to be rectified over the next 12 months as the major US exhibitors accelerate their ramp-up of 3D-enabled screens. With concession margins at nearly 86%, it simply pays to get consumers in the door. We expect to see the average film rental costs in the 53%-54% range for 2012, basically unchanged. There will be exceptions (Avatar was likely closer to 60%), but there is little leverage on either side of the equation to consistently move the average film cost out of that range, even though the success or lack of commercial appeal of any one film can influence the equation. Theater and Screen Counts Screen counts have moved sideways over the past two years as developer funds have disappeared. As delineated in Exhibit 84, the aggregate screen count for the theatrical exhibition industry declined from the peak level of 37,131 in 1999 to an estimated 35,173 at the end of 2001 as bankruptcy enabled a cost-effective closure of unprofitable or disadvantageous screens. Older facilities with unfavorable leases, smaller screen counts, and noncompetitive locations continue to be closed each year. Equilibrium in the screen count has allowed for distribution stability in the financial pendulum. Today, there are still too many 3D films chasing too few 3D-enabled screens during the peak release windows of summer and the holidays. This past summer there were five or six 3D-formatted films in release on most weekends. The massive upheaval in financial markets a few years ago has significantly reduced the capital available to developers to build new theater complexes and is reducing new screen additions at least through 2012. New projects are getting built selectively, but they will be numbered to only a handful or two, adding less than 1% to the total screen count. The decline in A member of BMO Financial Group 120 April 2012 Perspectives on the Filmed Entertainment Industry 2012 BMO Capital Markets film production in 2009-2010 may have also compressed motivation to build new screens in the US, especially given the perception of revenue upside from 3D.

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I'm greatly disappointed in Sansa, she's letting the Stark name down. The highly respected Ned Stark was the one in a position to move the kingdom away from Joffrey's rule. After breaking his work to an ally he had already been well informed was easily slighted. He's the one that executed the head of that house for killing Lannister kids, while not punishing his mother for betraying him in releasing the Kingslayer. Poor writing. Sansa did see what Jon's intentions were and she saw that he was failing at it. Her questioning forced Jon into confronting the simmering resentment in the room. And in doing this he wins over the Lords and has them united. The same mistakes that led to him being stabbed by his brothers. Jon's decision ended up being final, Sansa did nothing but undermine him and she ultimately changed nothing. Like I said earlier, he was in the process of explaining his decision when she interrupted him. Seriously, what a confusing character she's playing atm. The Starks are noble, but they're noble in a realistic way. I don't think it's very realistic to make Westeros a better place for all.

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This shows a gender switch where Peter takes the role of a woman by watching chick flicks he then decides to make his own, this is called visual comedy. He goes to the mall to gloat but end up falling in love with her. After seeing Quagmire get his way by being mean to a woman, Stewie comes to the conclusion that women respond to men who mistreat them, and Stewie scores a date with Olivia by mistreating her. But their relationship quickly becomes filled with resentment and bickering, which comes to an ugly ending when they join Brian and Jillian on a double date. When he discovers that Olivia is cheating on him by playing with another friend, Stewie sets fire to their pretend house, leaving them behind. Meanwhile, Lois introduces Peter to chick flicks, and then he decides to make his own and calls it steel vagina's. In the episode it shows Stewie coming home from work hanging up his hat and sitting at the dinner table asking for his food while Olivia is over by the cooker making dinner. This is showing two children acting as if they are older this is rites of passage because they want top be older than they actually are. Also in this episode it shows that Olivia cheats on Stewie by playing with another child. This shows that are trying to be adults but that it shows that they are still children because all Olivia does is 'play' with another child. This is usually a problem that adults would have but because Stewie is suppose to be older than he actually is and he is very intelligent he acts more like an adult. The name of Peters film Steel Vagina's is a play taken from a film Steel Magnolias. Several Woody Allen films are referenced, the scene where Stewie and Olivia and people watching is similar to a scene in Annie Hall in which Allen and Diane Keaton make similar quotes about people walking by. Victor, who is voiced to sound just like Alan Alda, is a parody of that the actor's character as a pompous writer of Manhattan.

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Sansa of the shows and the novel is the classic damsel in distress. She then goes off with Littlefinger, and gets educated. After a few early learning experiences, Sansa spends most of her time in the Vale babysitting Robin and “hearing” Marillon. Her one great accomplishment is jogging Theon out of his despair, which is hardly what she was being educated to do. The negative responses to them are not usually sexist; they’re noting something that is already in the show and the books. To be blunt, as a red-blooded heterosexual woman I like me a strong handsome warrior hero. It will be a full circle though, one Brandon Stark raising the Wall and another one helping to tear it down. However, GRRM said that we will go further North than ever before in the Winds of Winter, so I am hoping Bran is going North and not South. So now that Wyllis is dead (sad ending but it was always what was meant to happen, so I’ll get over it) I can’t see Meera dragging a boy who weighs as much or more than her for very long. Enter. So are the Knights of the Vale staying at Moat Catlin waiting for her or Robyn. He’d be mad about LF, and more so it makes sense to have no explained it in front of everyone else; whom she may or may not trust yet. Victarion likely just a casualty of TV and limiting characters. Got creeped out again hearing about Varys, and mr logical aligning with mrs super religion likely won’t work out.

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The Ice Dragon is one of those concepts, as is the notion of a person who is transformed by ice magic. It’s actually more central to his thinking than fire breathing dragons, whom he almost didn’t include in ASOIAF, if you can believe that (it’s true). So when you consider that ice transformation concept and compare it with Melisandre’s state of being as a fire-transformed person, we can see that they are essentially mirror-images of one another, and I think we can begin to see what he is doing with this moon-pale, blue-star-eyed corpse queen. Imagine Adara all grown up, and there’s your moon-pale maiden with eyes like blue stars and magical abilities that work through the medium of ice and cold. They made icy love together, but it wasn’t an even exchange: remember that “when he gave his seed to her he gave his soul as well. That’s pretty much exactly what happens with Mel and Stannis, as a matter of fact, and this is a key point in drawing a comparison between Melisandre and Night’s Queen. Shadows only live when given birth by light, and the king’s fires burn so low I dare not draw off any more to make another son. It’s remarked upon many times how drawn and haggard Stannis looks after each one of the shadow babies are created, and that symbolizes the sun being turned dark by producing the black meteors with the fire moon. Mel is drawing off of his “life fires” and leaving him reduced and corpse-like in return. That is essentially a mirror-image to Night’s King giving his seed and soul to a moon woman, save for the ice and fire difference. Kill him if need be. The Old Bear sighed. “Were it only that he wished to rid himself of some mouths, I’d gladly send Yoren or Conwys to collect the boys. We could raise them to the black and the Watch would be that much the stronger.

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Two, because he is only 4 or 5 in the books and is incapable of really having much of a personality. I would have preferred a more intense traditional fight scene. What I loved was Bran’s voice being heard and Lyanna’s birthing screams. They’d better damn well show the scene inside the tower soon. And if I have to hear her spout her titles one more time I may throw myself into a fighting pit. The writing in this episode was much better and things flowed nicely. Kit was great. You could see his lack of faith in the Watch now. You can see the determination in him as he strode through the gate to do what his heart has been telling him to do. His facial expression when trying to breathe were great. Her scenes actually tick me off more than anything. I know what they are trying to do but it just doesn’t seem like real intricate assassin training that the FM are known for. I would have liked to see more variety to learn more about them. But now it seems her watch has ended and there will be a SL shift thankfully.

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