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Think I'm going to hunker down, get me some shut-eye, know what I'm saying? . An hour ago it had reached the knuckle of his index finger. It was tipping down with rain outside and there was an icy draught in the room. For some moments he watched it running down his window, staring at the bleak view of the alley wall beyond, then he unscrewed the cap of a bottle of mineral water he'd bought at a petrol station on his way in, rummaged in a drawer of his desk and took out a packet of Panadol. He popped two capsules from the foil, swallowed them, then checked the time the message had been sent: 2. 4 a. . She'd been horrible, the evening had been a disaster, and now she was texting him. Terrific. Money wasn't a problem for him, and he had no debts, but he hated losing, especially losing heavily. Had a great ending - you'd remember, the kid in the alley challenging him to a bet, and he tosses his last coin at him. Branson peeled the lid off, spilling coffee onto the desk, then removed an almond croissant, dropping a trail of icing sugar next to the coffee spill. I've been drafted onto the Drugs Performance committee. .

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But the movie also contains some smoking-hot performances by Russell and some of his peers, and overall it’s a sensitive and artful sketch of America in the early 1970s. Thank goodness Russell eventually decided to allow it to be seen — even if he did wait until after Blank’s death. The reputation of Vegas Elvis isn’t the highest, so the fly-on-the-wall doc That’s the Way It Is makes for a necessary corrective to the conventional wisdom, showing that the “back to basics” country-rock sound that Presley started pursuing circa 1968 continued when settled in Nevada. This is a winning portrait of the more down-to-earth King of Rock ’n’ Roll who emerged in the 1970s: one who was looser, funnier, and more flawed, but still capable of raising hell with some of the fiercest backing musicians ever assembled. Along the way, the movie asks questions about whether the music industry marginalizes talented women — and black women especially — using them for their “soul” and sex appeal but not letting them graduate to solo careers. 20 Feet From Stardom is feisty and insightful, and filled with classic songs. It’s no wonder that it became the rare music doc to win an Oscar. Sam Jones’s visually striking black-and-white film features both the seeds and the flowering of all these various crises, while maintaining a nonjudgmental distance from the band and its process. The film’s satisfying relief comes when the band lands fourth LP Yankee Hotel Foxtrot at new label Nonesuch, one of Warner Music’s many subsidiaries including Reprise — which means Wilco was paid twice by the same company for the album, a masterpiece that cemented them as indie-rock royalty. Let’s Get Lost is equally admiring and despairing, offering a fairly thorough overview of Baker’s spiky career — with friends and jazzophiles explaining the significance of his recordings of songs like “My Funny Valentine” and “But Not for Me” — while also exposing what heroin addiction and a lingering inferiority complex did to the man. This is a rich, layered film, both in love with the image of the melancholy wastrel artist and aware of the reality behind the pretty picture. Or at least that’s one of the points made by Jeff Feuerzeig’s complicated film about Daniel Johnston, a mentally ill singer-songwriter who’s created some strange and beautiful music, while also being a burden to his family and a danger to his friends. Without discounting the wondrous songs that Johnston has created — catchy, childlike home recordings, with a crude charm — The Devil and Daniel Johnston considers the real toll that being “a mad genius” takes on those in the immediate vicinity. Spheeris sees the connection between artist and audience, showing them as mutually, almost symbiotically, damaged. Historically speaking, this movie is important as a record of West Coast punk in its initial flowering.

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Covering the golden hand seemed like concealment to me in the moment, but there are also practical reasons. If CGI’ing a stump wasn’t expensive and Nik didn’t need two hands to ride safely, we might have seen him dump the hand by the side of the road. That would have felt like a final fuck you to Cersei. I do hope we get a least one scene of him on the road. We don't need the evidence, but other people will of course. And I was half expecting a Kingsroad reunion because as mentioned before, it would have provided some variety to: Reunion 1: WF Reunion 2: WF Reunion 3: WF. But then all of that can happen in WF anyway, just would be interesting elsewhere. The thing that makes me wonder if we might just briefly see Jaime on the road is, why would they have bothered having him conceal his golden hand and don sellsword clothes if not to have a scene where he’s not recognised by someone. I think part of it is showing that he's giving up his identity as Ser Jaime and heir to Casterly Rock (notice, no one's taken the title of Lord Lannister since Tywin died). He's no longer gilded, but a common man without all the privileges and benefits of his family name and wealth. And it was a nice reminder, yet again, about that damn important hand. That golden hand will one day be holding a flaming sword too hot for human touch. And that golden hand wielding that sword will somehow save a whole lotta people (or a handful of very important people). I can't wait to see sansa and lyanna mormont kicking danny's ass, to be honest. It makes me pretty hopeful for some brienne defending jaime against dany scenes.

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Fitzpatrick later tossed two touchdown passes — 6 yards to tight end O. J. Howard with 12:14 remaining in the second quarter and 4 yards to DeSean Jackson with 45 seconds left in the half. Linebacker Kwon Alexander’s interception of Cutler set up the scoring pass to Howard. Fitzpatrick finished 22 of 37 for 275 yards and two touchdowns. Cornerback Robert McClain also intercepted Cutler, who appeared to be shaken up while being tackled on a scramble late in the first half. Miami started the second half by putting in Matt Moore to replace Cutler, who was evaluated for a concussion. Moore went 17 of 28 for 282 yards, including a 61-yard scoring pass to Kenny Stills to tie the score at 20 with 3:00 left. Cutler finished 6 of 12 for 83 yards to go along with the passing touchdown and three interceptions. Allen played into the third quarter, but was taken out and evaluated for a concussion. The past 12 months have been long, dramatic and full of developments that critics say could lead Trump to end his term early—and they may be converging. Trump's approval ratings have been tanking, hitting new lows seemingly every time another survey drops. As of Friday, Trump's average job approval rating was just over 38 percent, according to RealClearPolitics. His average disapproval rating was 57 percent, leaving him both underwater and making him the least popular president in modern history. On top of that, there's an active effort to force the president out of office.

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Essentially it was a symbolic victory: The M23 was seen at the time as the best equipped and most disciplined militia in DRC. Since then, the over 1000 M23 fighters and their commanders have been practically stranded in Uganda. They were disarmed by the Ugandan army UPDF and transferred to a military camp in Bihanga. The M23 leadership was taken to a safe house in Kampala. Officially the M23 has mutated into a political party. The end of the M23 forced the FDLR to reposition itself. The FIB's offensive mandate was directed against the FDLR too: at the very least, Rwanda expected that after the end of the M23 it should be the FDLR's turn. As the M23 held Goma at the end of November 2012, hopelessly overstretched, Stany's units had marched into Rwanda through the M23-occupied border strip further north and had killed five Rwandan park rangers before withdrawing under heavy losses. With the end of the M23 peace negotiations in December 2013, the FDLR's breathing space was over. But it came otherwise: Behind closed doors at MONUSCO in Goma it was decided to attack not the FDLR but the Ugandan ADF (Allied Democratic Forces) which has been based in the Rwenzori mountains of Beni territory in the North of North Kivu for many years. Various sources confirm that the deputy force commander and head of the MONUSCO police, General Pascal Champion, pushed to target ADF rather than FDLR. France is a traditional adversary of the RPF government in Rwanda; it actively supported the Hutu militia in Rwanda during the 1994 genocide and has granted asylum to many high ranking FDLR members in Europe. Nevertheless, operations against ADF began around Christmas 2013: the DRC army at the front, the FIP as back-up. Blue helmets cleared FDLR roadblocks on the road from Goma to Pinga, around 150 kilometres north-west. The FDLR fighters withdrew from the road to the hills.


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In each episode, Asako reappears at a critical moment to demand penance or to absolve the woman. The fifth episode centers on Asako herself: her immediate reaction to her daughter’s death, her search for the killer, and her realization that the crime has roots in her own past. It also exemplifies the sort of clean, classical genre filmmaking that doesn’t get done in America very much. It shows how locations can be used elegantly and economically, and how the inability to get extreme long shots in cramped quarters can actually be an advantage. Classrooms, offices, and gymnasiums are used with a sober restraint, each one given defining geometry and color scheme. A crucial confession takes place in a police station being renovated, and Kurosawa lets the scene unfold in a way that continually reveals surprising bits of space, such as a cop standing somewhat ominously at a distance. He’s unafraid of holding long shots because the shot is propelled by the drama, not the cutting pace. Here’s another example that illustrates the Monroe Stahr rules of storytelling: not a car chase or gun battle, but a quietly puzzling situation that evokes curiosity and suspense. We’ve not seen it before and have no idea what it signifies. Before we find out, cut to her husband in the hallway. This cut initiates a take lasting over three minutes. The camera pans right to reframe their new confrontation. The situation unrolls and builds tension completely through dialogue, body language, and facial reaction. But it could hardly be considered theatrical, because the camera has judiciously strengthened certain parts, concealed others, and obliged us to shift character perspective (Asako-husband-Asako) through slight changes of position. And playing so much of the scene in distant and dorsal shots harks back, inevitably, to Mizoguchi.

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“A” and “E” look for devices to turn o. However, “A” can not defeat “D”. “A” huge weapon ? ishes powering up. From this, the consistency and originality of the story seem to be closely related. The best evaluation among the automatically generated plots was Plot D. It was evaluated as having a relatively consistent story. All of the plots were evaluated as being automatically generated at least once (Fig. 4). In this experiment, it can be seen that there is a di? rence in quality depending on the plot. However, the results show that it is also possible to automatically generate something close to a plot created by a scenario writer. 5 Conclusion and Future Works In this study, we developed a system for automatically generating plots and conducted an evaluation experiment. From the evaluation results, it can be said that the proposed method was able to achieve results. However, there is concern that if we reduce the contradictions of the plot and increase the consistency of the story, we can only generate stylized scenarios.