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    Spoiler Alert Nitwits Debunked

    Game of Thrones spoiler alert nitwits need to read this: Truths everyone must know that make the show better

    Tarra Gaines
    Jun 16, 2014 | 1:26 pm

    A pop cultural battle has raged online the past several years and the skirmishes have come to a head around the current season of the biggest hit in HBO’s history, Game of Thrones. It’s not a war between Stark and Lannisters fans but a vicious, perhaps unwinnable fight between spoilerphiles and spoilerphobes. So far no one has reaped the . . . well, spoils.

    Personally, I’ve been on Team Spoiler since childhood when I would often read the ending of a book first just so I could then go back to the beginning and enjoy a slow journey without rushing through fueled by the suspense. For me, Game of Thrones is the ideal show.

    I’m an avid reader, but I haven’t read one chapter of George R. R. Martin’s A Song of Ice and Fire, the gritty fantasy series on which the HBO show is based because (Spoiler Alert) Martin appears no closer to ever finishing this monster epic than he was two books ago. I like to be certain there’s going to be some sort of end before I begin. Yet, since the first book was published in 1996, there’s a virtual ton of plot summaries floating online to enjoy.

    Still I imagine Team Surprise, those who hate any hint of what’s to come, must live their days between episodes in a constant state of paranoia that some book reader will drop a dirty plot bomb onto their Twitter feed or Facebook page.

    But now with the season over, as (Spoiler Alert) Stannis has his one “Hell Yea!” moment of the series, Jon Snow has his millionth beautiful pout of the series, Arya sets sail to turn her death dabbles into a profession and Tyrion gives his dad the Father’s Day gift of an eternal moment of peace on the pot — you’re a laugh riot HBO schedulers — I would like to make a case for spoilers.

    It’s Science

    Three years ago, the only psychological study of spoilers confirmed the theory that some stories are enjoyed more when we know how they end. And I believe a thousand years of literary history support this idea. When was the last time someone left a production of Hamlet muttering: Everybody in Denmark died and that Norwegian prince with five lines wins the throne? Wow, I did not see that coming.

    Yet, after 400 years of already knowing all his tricks, Shakespeare's still smokin' hot.

    Further Evidence

    But back to the Game, this season especially felt like it was made for those in the know, as show runners Benioff and Weiss purposeful and perhaps sometimes accidentally played into and defied the spoiled expectations.

    One of the coolest scenes this season came in episode four when the show confirmed where White Walkers babies come from. (It apparently involves adult White Walkers doing a rousing cover of “Let It Go” offscreen and then getting a fierce magical manicure.) Yet, this major reveal is still only conjecture in the books.

    I’d argue that if it’s shocks you’re looking for, these scenes were much more stunning for those spoiled then those not.

    Meanwhile, one of the most controversial scenes came one episode earlier when it looked like Queen mum Cersei and her twin brother Jamie’s screw on their dead son’s coffin from the book had been turned into a possible funeral rape on the show, which strangely enough made things all the more sordid.

    My favorite moment of the whole season came during the finale when Varys hears the bells announcing Tywin Lannister’s murder and makes the split second decision to join Tyrion on his all-inclusive cruise, which might just make season five the best buddy adventure in television history. This too was a deviation from the books.

    I’d argue that if it’s shocks you’re looking for, these scenes were much more stunning for those spoiled than those not.

    Spoiler Manners

    I realize spoiler lovers and haters might never agree, but we really can’t even virtually jab our thumbs in our enemies’ eye sockets and crush their heads because it would make a bloody mess all over the Internet. (I miss you Oberyn even though I knew going in all men must die.) Instead, I propose we come to some agreed upon etiquette.

    Here’s my version, feel free to counter with your own.

    Spoiler Lovers:

    Don’t Be Smug.
    Just because you know something big, that’s no reason to act like a 6-year-old who can’t wait to tell her little brother that (Spoiler Alert for all 4-year-olds reading this article) Santa really is mommy and daddy.

    Don’t be tacky.

    Sure that first Unspoiled Friend Freaks Out at the Red Wedding YouTube video was hilarious, but now they’re just kind of cruel.
    Do be considerate.

    While I don’t think you need to censor yourself on public social media forums, you might wait a few days before blasting shocking fictional news in one-on-one communications. Hypothetically, if you and your editor are both fans of a certain show but he’s usually too busy to do a same day watch, subject lining a Monday morning email: OMG, I can’t believe they killed-off Will, might not be the best idea. (For the record, I did not do this.)
    Spoiler-phobics:

    Don’t expect the rest of the world to wait for you.
    
If you haven’t finished Breaking Bad, Downton, True Detective or Buffy season two, for that matter, tough luck. We’ve all moved on.
    Either take a weekend and watch, find a nice WiFi-less cave to live in somewhere, or deal with the fact that just because you know the ending doesn’t mean you won’t enjoy the journey it takes to get there.

    Game of Thrones spoiler alert nitwits need to get over themselves. It's better spoiled!

    Game of Thrones
    HBO
    Game of Thrones spoiler alert nitwits need to get over themselves. It's better spoiled!
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    Movie Review

    Over-the-top acting and incoherent plot drag down Her Private Hell

    Alex Bentley
    Jul 23, 2026 | 3:00 pm
    Sophie Thatcher in Her Private Hell
    Photo courtesy of Neon
    Sophie Thatcher in Her Private Hell.

    Danish filmmaker Nicolas Winding Refn is not someone who plays nice with the general film world. His 2011 film Drive introduced him to American audiences in a big way, but that pulsating thriller was followed up with artier films like Only God Forgives and The Neon Demon that eschewed coherent plots in favor of moody, atmospheric pieces.

    Winding Refn, who hasn’t made a feature film in 10 years, has gone fully down the rabbit hole with Her Private Hell. Taking place in a liminal space that kind of resembles Earth but also feels like someone’s dreams/nightmares, the film focuses on Elle (Sophie Thatcher), an actor currently starring in a sci-fi film. Staying at a hotel with newcomer Hunter (Kristine Froseth), the two bond over their shared passion and the legend of Elle’s father, Johnny Thunders (Dougray Scott), who’s now married to Elle’s friend Dominique (Havana Rose Liu).

    After spending a good amount of (mostly incomprehensible) time with that group, Refn introduces Private K (Charles Melton), who seems to be living in post-World War II Japan. He is looking for his daughter, who might have been taken by a mysterious figure known as “Leatherman,” and he will stop at nothing to find her, fighting whoever stands in his way.

    It becomes clear almost right away that Winding Refn has no desire to engage in traditional storytelling in this film. The main characters wander through neon-drenched streets and buildings, which are often surrounded by a mist that is referred to on multiple occasions but never explained. Everyone speaks as if in a constant state of wonderment, and there are many moments where it’s unclear if events are actually happening, part of a movie-within-a-movie, or something else entirely.

    Unlike his previous films, Winding Refn has taken the characters in this film completely out of the real world, with every scene taking place in a sparsely decorated room or street that is obviously a movie set. While there are moments where this decision really works, especially the striking first shot of a human-like figure mixed in with a cityscape and clouds, most of the time it only adds to the stilted nature of the film as a whole.

    In fact, the entire movie has the feel of an avant-garde theater exercise. Every actor seems to be trying to outdo the others with awkward performances and out-sized reactions. Two very specific characters make appearances in both sides of the story for seemingly no reason other than to inject their weirdness into both spaces. The shocking violence that crops up on occasion would have more of an impact if it was related to anything intelligible.

    Thatcher (Companion) and Liu (Tuner) are among the young stars who have had breakout moments in recent years, but neither of them is served well by this hot mess of a movie. They, along with Melton, still demonstrate the talent they possess, but the oddity of the film weighs them down. Scott makes an impression for all the wrong reasons, while Froseth is called upon to play a character who might as well not be there at all.

    If there’s any kind of message that Winding Refn was trying to convey with Her Private Hell, it’s lost among the flashing lights, overload of pink, and jewel-like structures. Filmmakers who try to make art for art’s sake have a place in the world, but this film too often feels like people are making things up as they go, with no real goal in mind.

    ---

    Her Private Hell opens in theaters on July 24.

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