The Good: We both liked some of the small moments in this episode, such as the after hours conversation between Maurice and Eugene. Compared to a few other recent episodes, we felt that we could recognize the actions of the main characters here as consistent with who they were in the first five seasons, which was nice to see.
The Episode 6.7
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The episode begins with Kelli and Judy talking in their office, mentioning that Christina Marie withdrew from training camp. This is followed by a week 2 rehearsal, where they perform the kick line and the jump split, followed by the first mid-episode office visits. Uniform fittings follow, and then Taylor BreAnn has a one-on-one session with Ashton Torres. This is followed by Brittany Evans coming over and giving kicking lessons/tips to Mackenzie Lee at her house. The episode concludes with the final rehearsal of week 2 of training camp, but things get waylaid when it is realized that Kaitlin LeGrand is M.I.A., and the episode concludes with the first cut, and an office visit with Kaitlin.
It is now week 6 of training camp, and the episode begins with a rehearsal at Valley Ranch with Kitty Carter, and includes a scene where Taylor BreAnn receives intense criticism of her professionalism from Cassie Trammell and Ally Traylor. After office visits, the show moves to a social media seminar led by Kelli at Valley Ranch, followed by the cameo photo shoot. The episode concludes with a week 6 rehearsal and one more cut, leaving 41 hopefuls.
"The Broken Man" is the seventh episode of the sixth season of HBO's fantasy television series Game of Thrones, and the 57th overall. The episode was written by Bryan Cogman, and directed by Mark Mylod.
"The Broken Man" garnered high praise from critics, who noted the long-awaited return of Sandor Clegane, the introduction of new characters such as Lyanna Mormont, and the siege of Riverrun as highlights of the episode. The title of the episode is a reference to a speech given by Septon Meribald, a character in the A Song of Ice and Fire series, who was also used to create the character of Ray. In the United States, the episode achieved a viewership of 7.80 million in its initial broadcast. The episode earned a nomination at the 68th Primetime Emmy Awards for Outstanding Production Design for a Fantasy Program.
In the "Inside the Episode" featurette published by HBO shortly after the airing of "The Broken Man", series co-creators David Benioff and D. B. Weiss spoke about some of the thought process behind the motivations of the characters that were featured prominently in the episode. David Benioff began by speaking about Sandor "the Hound" Clegane, saying "I think suffering a near death experience probably changes anyone, and that certainly has changed Sandor Clegane. He's a more thoughtful person than he was when we last saw him, he's probably more aware of his vulnerabilities, he knows how close he came to dying, and he's really thinking about his past in a way that he never had before."[4] Weiss continued, "The unfortunate, ugly reality of the kind of pacifism that Ray is preaching is often suicidal when you're in the middle of the kind of world that they're all in. Something sad about the fact that this person who tried desperately to walk away from what he was is being given no real choice but to go full throttle back in the direction of what he really is, which is a killer."[4]
The episode is only the fourth in the series with a cold open.[5] The first three being the series premiere, "Winter Is Coming", the third season premiere "Valar Dohaeris", and the fourth season premiere, "Two Swords". Bryan Cogman stated that they felt it was necessary to utilize a pre-credits sequence due to the reintroduction of Rory McCann, saying "We figured it would make his reveal more impactful if the audience hadn't seen [McCann's] name in the opening credits first."[2]
The episode featured the return of several characters from previous seasons, as well as the introduction of new characters, who were either mentioned previously within the show, or had some connection to an established character. Rory McCann, who portrayed Sandor "the Hound" Clegane from the beginning of the series through the fourth-season finale episode "The Children", returned as a series regular. McCann had previously speculated about the return of the Hound, saying in an interview with Access Hollywood in 2014, "There's always hope."[6] Bryan Cogman revealed in an interview with Entertainment Weekly that there was always a plan to bring back the Hound, but the manner in which he was reintroduced was not always entirely known.[2]
Another re-introduction involved the storyline surrounding the Siege of Riverrun, with actor Clive Russell returning to the show as Brynden "the Blackfish" Tully, who last appeared in the third-season episode "The Rains of Castamere", in which the Red Wedding took place, and the Blackfish successfully evaded. In an interview with IGN, Clive Russell stated he was hopeful to return to the role saying "I'd hoped that he'd come back because he comes back in the books again. But they're not doing the books -- there is no book to do it from. I'd hoped that would happen. I don't think I was surprised it would happen because they bring back all kinds of people at all kinds of times. But it was good to go back there, I must say."[7]
"The Broken Man" was directed by Mark Mylod. Mylod previously directed the fifth season episodes "High Sparrow" and "Sons of the Harpy".[15] Mylod also directed the subsequent episode, "No One", for the sixth season.[15]
In an interview with Entertainment Weekly, Ian McShane was asked about the process of shooting his final scene where he is shown hanging after being killed by the Brotherhood, with McShane saying that the filming of the scene was "very easy. You just have to hold your breath for 10 seconds and look sufficiently dead for them to get it."[3] He also noted in the interview, "Rory was a delight to work with, and so was the director. The whole experience was five days in Belfast, and I enjoyed it a lot."[3] Prior to the season, in August 2015, reports emerged about the spotting of Rory McCann at a hotel frequented by actors during filming of the series, in Belfast.[18] McCann, whose character is frequently shown chopping wood in the episode,[19] previously spoke in interviews about his prior career with chopping down trees, revealing "I was a lumberjack for years, [...] and I even trained myself to be a tree surgeon."[20]
"The Broken Man" was positively received by critics, who listed the return of Sandor Clegane, the introduction of Lyanna Mormont, and the siege of Riverrun as high points for the episode.[25] It has received a 98% rating on the review aggregator website Rotten Tomatoes from 46 reviews with an average score of 7.8/10.[26] The site's consensus reads "The return of long-lost characters and the introduction of some sharply-drawn newcomers keep "The Broken Man" from feeling like mere setup for the season finale."[26]
Matt Fowler of IGN wrote in his review for the episode, ""The Broken Man" gave us back The Hound, but his return felt a little diminished, given the parade of returns we've already seen this year, and there weren't as many notable moments in this chapter as other Game of Thrones episodes. There were some fine scenes, but nothing on par with the show's usual goods, though Lady Mormont was a highlight and Jaime and the Blackfish's standoff is an interesting scenario, not to mention the questions raised by Sansa's letter. Arya getting her guts punctured was a shocker, but it didn't feel right that she couldn't see her attacker coming."[25] He gave the episode an 8 out of 10.[25]
Alan Sepinwall of HitFix praised the episode structure, writing "The quick transitions and constant back-and-forth movement among subplots generated more energy that, when combined with several characters we either didn't know before or hadn't seen in a long time, made "The Broken Man" feel livelier."[27] Similarly, Ed Power of The Daily Telegraph also praised the episode, noting, "Once again there was a sense Game of Thrones was steeling itself for battles - and expensive set-pieces - chugging down the track. A storm is brewing - for now, we were invited to enjoy what remains of the calm."[28] Jen Chaney of Vulture also felt the episode was more of a set up episode for storylines to be resolved in the close of the season, writing "Although two bombs get dropped in this week's episode of Game of Thrones, it's an hour focused on putting the narrative chess pieces into place. "The Broken Man" doesn't finish off any of its major moves. Those bold turns are yet to come."[29]
The past year prevalence data presented here for major depressive episode are from the 2020 National Survey on Drug Use and Health (NSDUH). The NSDUH study definition of major depressive episode is based mainly on the 5th edition of the Diagnostic and Statistical Manual of Mental Disorders (DSM-5):
Results: Only one of 10 of those with actual recurrent disease (> or = 4 episodes) had been operated on, and three of every five children operated on, in fact, had rather few episodes. The operation rate among those children with only a few episodes was increased by factors such as consulting an ear, nose, and throat specialist (risk ratio [RR], 13.0; 95% confidence interval [CI], 7.6 to 22.2); parental exaggeration of the episodes (RR, 6.7; 95% CI, 3.8 to 11.9); having the first episode under 6 months of age (RR, 4.5; 95% CI, 2.5 to 7.9); recurrent respiratory tract infections (RR, 3.3; 95% CI, 1.9 to 5.7); male sex (RR, 2.6; 95% CI, 1.4 to 4.6); urban domicile (RR, 2.4; 95% CI, 1.1 to 4.9); and day care (RR, 2.1; 95% CI, 1.1 to 3.8). The decision to operate was more or less a random phenomenon among those children with numerous episodes.
In an often-neglected episode from book 6 of Edmund Spenser's Faerie Queene, the beautiful courtly lady Mirabella rejects the love of numerous suitors and thereby causes their death. For her transgression, she is tried and sentenced at the court of Cupid. This essay considers the historical and poetic meaning of the law that determines the judgment of Mirabella. On the one hand, the episode revives several aspects of the medieval poetic tradition of amorous jurisprudence, imagining her crime as a violation of the laws of love (a distinct legal sphere outside of the reach of positive law where desire can claim a jurisdictional autonomy). At the same time, Spenser's text suggests that Mirabella's actions can be also construed as murder, which translates her transgression into the language of the common law of felony. As the essay demonstrates, The Faerie Queene intertwines the poetic laws of love with the mechanisms of the common law, creating a powerful legal resonance that both curbs the oppressive ambitions of Elizabethan positive law and reshapes medieval erotic law to answer the demands of modernity. As a result, the episode imagines a heterogeneous and more successful legality that reconciles the past and the present and the juridical and the poetic, in the process asserting the unrivaled power of poetry to articulate a vision of justice. 2ff7e9595c
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