*Spoilers ahead for Game of Thrones season 8, episode 3*
"The Long Night," which was arguably the most anticipated episode in Game of Thrones history, premiered on Sunday, April 28. In addition to featuring the epic Battle of Winterfell, it also marked the longest episode in the series' history, clocking in at 82 minutes.
Fans were already expecting a handful of major deaths to take place at the battle, and while there weren’t as many as we feared, we did say goodbye to a few favorite characters. We’ll be mourning the loss of Jorah Mormont (Iain Glen), Lyanna Mormont (Bella Ramsey), and even Theon Greyjoy (Alfie Allen)—who ultimately proved himself to be loyal to the Stark family and Winterfell—for years to come. But beyond all of the intense events and upsetting moments, there are a few details you might’ve missed on the first watch. Here are just a few of them.
1. The dagger that killed the Night King could have also killed Bran.
The most unexpected moment in "The Long Night" occurred when Arya Stark came out of seemingly nowhere and stabbed the Night King, just as he was approaching an unguarded Bran Stark. Just like that, she defeated the undead leader and all of his army fell with him. But the best part of it all was what she used to kill him: the Valyrian steel dagger that was once supposed to kill Bran all the way back in the season 1. Fans have, of course, suspected this weapon would be incredibly important in the final season, and it was.
2. Melisandre knew what was going to happen all along.
Arya was surprised to see Melisandre, who repeated the same prophecy she told her in season 3. In the third season episode “The Climb,” Melisandre told a young Arya: “I see a darkness in you. And in that darkness eyes staring back at me—brown eyes, blue eyes, green eyes. Eyes you'll shut forever. We will meet again.” While this seemingly made no sense to Arya back then, or to viewers, hearing it again from Melisandre in tonight’s episode sealed the deal. The blue eyes were the Night King’s. She knew it was Arya’s duty.
3. There was religious symbolism in Beric’s death.
Many fans were expecting Beric Dondarrion to meet his demise in the final season, but that didn’t make his death tonight any less upsetting. The character has been killed and brought back to life by the Lord of Light numerous times, which had us all theorizing what his purpose would be. Turns out, it was to save Arya so that she could defeat the Night King. Beric’s death was also quite symbolic: As he was stabbed, his arms were outstretched in a doorway, creating a Christ-like image.
4. There was some potential foreshadowing for Sansa and Tyrion.
While down hiding in the crypts, Sansa Stark and Tyrion Lannister shared a few sweet moments together. While reminiscing on how Tyrion was the least terrible of Sansa’s husbands, it's suggested that they should have stay married. This seemingly foreshadows their relationship progressing in further episodes, hinting at a fan theory which puts the two together on the Iron Throne. Sansa also said the only thing in their way would be the Dragon Queen, which might mean Daenerys will actually become her true enemy. (Cue the “Daenerys is the real villain" theories.)
Though much has been written about the life of Wolfgang Amadeus Mozart, the most entertaining look at the master composer's life might very well be Amadeus, Milos Forman's film about the artist's life (and rivalries), which was released on September 19, 1984.
Here's a look back at the Oscar-winning biopic that not only brought renewed interest to Mozart's music in the 1980s, but inspired Austrian rocker Falco to write the chart-topping "Rock Me Amadeus." Poor Salieri never stood a chance.
1. Amadeus began life as a Tony Award-winning play.
Russian poet/playwright Alexander Pushkin wrote a short play in 1830 called Mozart and Salieri, and playwright Peter Shaffer—who was already a Tony winner for Equus—took inspiration from that to write his own play. Amadeus played in various theaters in London beginning in 1979, then premiered on Broadway in 1980 with Ian McKellen as Antonio Salieri, Tim Curry as Mozart, and Jane Seymour as Constanze, Mozart's wife. The production won five Tonys, including Best Play and Best Actor for McKellen, who beat out Curry for the award; the two leads had been nominated in the same category.
2. Mark Hamill wanted the lead role, but Milos Forman wouldn't let him audition.
In an attempt to circumvent any typecasting he might get after three blockbuster Star Wars films launched his career, Mark Hamill played the composer on Broadway for nine months in 1983. But when the time came for the movie to be made, Czech director Miloš Forman couldn’t get the space cowboy image out of his head. “Miloš Forman told me, ‘Oh no, you must not play the Mozart because the people not believing the Luke Spacewalker as Mozart,’” Hamill said in a 1986 interview. “He was very upfront about it, and I appreciated that rather than getting my hopes up that it was possible I’d be playing the role.”
3. Kenneth Branagh legitimately thought he had landed the lead role.
A young Kenneth Branagh was an early contender for the part of Mozart. In his autobiography, he wrote that he thought he had the part in the bag until Forman informed him they were casting Americans for the leads. Other actors who auditioned for the Mozart role included Tim Curry and Mel Gibson. Though Mozart was a rock star in his day, actual rock star Mick Jagger was also turned down after his audition.
4. Mozart's frequent collaborator Emanuel Schikaneder was played by another stage Mozart.
Actor Simon Callow originated the role of Mozart at the Royal National Theater production of Amadeus in 1979, and though Forman told him his portrayal was "truly brilliant, fantastic, asshole and genius, funny, tragic, crazy, a baby and a god," the director wasn't prepared to give him the title role in the film. Instead, he cast Callow as Emanuel Schikaneder, the librettist who worked with Mozart on The Magic Flute and played the part of Papageno the bird catcher.
5. The movie was shot without the use of light bulbs or other modern lighting devices.
The Tyl Theatre in Prague was the original theater where Don Giovanni first premiered in October 1787, and the authenticity of the building was a huge boon for the production since it had hardly been updated since it was first built in 1783. “[The Tyl is] where the opera premiered. And he conducted the first performance. And none of the opera house had been touched since he was there," choreographer Twyla Tharp recalled in 2015. "We had fire everywhere. We could have burnt down the opera house. We had live fire in the chandelier. We were lighting people on stage, and these guys were whipping these torches around."
Patrizia von Brandenstein—who became the first woman to win the Oscar for Best Art Direction with this movie—had nightmares about damaging the all-wooden opera house. "I thought, 'God will truly punish me if this place catches on fire,'" she said.
6. Tom Hulce practiced piano for four to five hours a day.
In order to look believable on camera, Hulce spent a month with a piano teacher before filming. Although he knew some basics—he could read music, and had played violin and sung in choirs as a child—he needed to look like a natural. "I spent four weeks, four to five hours a day learning to play,” Hulce toldPeople in 1984. “The first two days were scales and exercises. The next day was a concerto." And for that scene at the masquerade ball when Mozart plays a tune while lying on his back? That was really Hulce.
7. Tom Hulce's laugh is semi-historical, though he had trouble recreating it.
Throughout the movie, Mozart has an infectious cackle—it comes out just as often when he’s giddy as when he’s uncomfortable. Though there are dubious historical reports that the real Mozart had such an obnoxious laugh, Hulce created the giggle after Forman asked him to come up with "something extreme." "I've never been able to make that sound except in front of a camera," Hulce later said. "When we did the looping nine months later, I couldn't find the laugh. I had to raid the producer's private bar and have a shot of whiskey to jar myself into it."
8. Someone really did commission a requiem from Mozart—it just wasn't Salieri.
The script clearly took some artistic liberties, including the plot line of the masked man who comes to Mozart pretending to be his dead father. This was not, as the movie portrays, Salieri. But in 1791, Austrian Count Franz von Walsegg—who had a penchant for commissioning music to pass off as his own at his twice-weekly concerts—approached Mozart and asked for a requiem for his beloved wife, who had died on Valentine’s Day.
According to a famously censored document in which a teacher near Vienna, Anton Herzog, recorded firsthand accounts of von Walsegg’s court, the Count often rewrote these commissioned quartets and other scores in his own hand and didn’t give credit to the original composers. His staff musicians often laughed this off because it seemed to amuse the Count, and because the Count was also an amateur musician in his own right. Mozart’s “Requiem Mass in D minor,” the document alleges, was one such piece. And Mozart really did die later that year, in December, before completing the full mass. Salieri didn’t help him complete it though; Austrian composer and possible Mozart student Franz Süssmayr took that on.
9. The actors felt intense jealousy, too.
Salieri and Mozart were the 18th-century equivalent of frenemies: They were contemporaries in a competitive field, and though they needed each other’s support, they weren’t above petty jealousies and a little backstabbing. Hulce and F. Murray Abraham (who played Salieri) also felt those pressures. ''Tom and Meg [Tilly, the actress originally cast as Constanze] were very close,'' Abraham toldThe New York Times in 1984. ''They had these secret jokes and were always laughing together. I was pushed out, and I was resentful. I began to have very nasty feelings that were exactly like Salieri's feelings toward Mozart. When that correspondence between a film and real life occurs, it's a director's dream.''
“Occasionally Murray and I would go out and drink this terrible sweet champagne that they have in Prague," added Hulce. "But at other times there was a rivalry between us, and I found myself suspicious of him.''
10. It was shot almost entirely on location in Prague—while under surveillance from the Secret Police.
During filming in 1983, Czechoslovakia was under Communist rule. The production team was often followed around by the secret police, and Forman and the cast spoke about their fears that a Fourth of July prank—the unfurling of the American flag in the concert hall and the singing of "The Star-Spangled Banner" by the large cast and crew—would lead to their arrests for inciting rebellion. Many suspected that their hotel rooms had been bugged during the six months they spent filming the movie.
Forman, who was considered a traitor for becoming an American citizen and not returning to the Soviet-controlled area, had previously had one of his movies banned in the country (then called the Czech Socialist Republic). According to Twyla Tharp, in order to shoot in red territory, Forman had to make certain concessions. "Miloš had to sign an agreement that he would go to his hotel every night for the year that he was there and that his driver would be his best friend from the old days," Tharp toldThe Hollywood Reporter. "And everybody knew what would happen to his best friend if something untoward politically happened around Miloš, because Miloš was a sort of local hero and he was dangerous to the authorities."
11. A teenage Cynthia Nixon had a small but pivotal role.
At age 17, Nixon played Lorl, the maid employed by Salieri to spy on Mozart. Though she was an experienced child actor at that point, she was also trying to finish her schooling. Thus, she and her parents were cautious of the time she'd need to be abroad for filming. "When I was cast in Amadeus with Miloš Forman, which was shooting in Europe," Nixon said in 2014, "I said, 'I want to be in your film so much, but I have a request: If I don’t shoot for two days in a row, you have to send me home.' They agreed."
12. The distributor made a promotional video depicting Mozart as a modern rock star.
Since the movie wasn't financed by a major studio with lots of promotional dollars behind it, the distributor, Orion Pictures, decided to get creative. And what better way to promote a rock star in the age of MTV than with a music video featuring David Lee Roth and cuts of Bruce Springsteen, Van Halen, KISS, Michael Jackson, David Bowie, and Madonna dancing along to Mozart's "Symphony No. 25 in G minor"?
13. The movie was a huge hit.
The film nearly tripled its $18 million budget at the box office, which was particularly impressive considering it opened in a limited 25 theaters and didn’t have a wide release until several months later. The movie also swept the Academy Awards—of its 11 nominations, it won eight, including Best Picture and Best Director. And, just as on Broadway, Salieri won the Best Actor statuette over Mozart, with Abraham beating out Hulce.
Having too many options definitely seems like the best problem to have when it comes to picking your next top podcast obsession, but that doesn’t make it any less overwhelming. To streamline the hunt, try Pod Search—a website and mobile app that has all the information you need in order to choose a winner.
As Lifehacker reports, the user-friendly site is organized in several different ways, depending on how you’d like to operate your search. You can browse its list of about 30 categories, which range from “Storytelling” to “Crime & Law,” and each has a set of subcategories so you can get even more specific. If you trust the opinions of the general public, you can choose an already-popular podcast from the “Top Podcasts” tab. Or, if you like to be the first to recommend the next big thing to your friends, you can pick a program from the list of new podcasts.
Pod Search also has a handy tool called MyPodSearch which will pretty much do all the work of choosing the perfect podcast for you. All you have to do is check whichever categories interest you and add any additional keywords you’d like (which is optional), and MyPodSearch will deliver a list of podcasts personalized for your tastes. This is great for people who have wide-ranging interests, a proclivity for indecision, or both.
Each podcast has its own landing page with a description, audio samples, places you can listen, website and social media links for the podcast, and a list of other podcasts from the same producers. You can also create an account and bookmark podcasts for the future—so, hypothetically, you could have MyPodSearch create a personalized list for you, bookmark them all, and then have a binge-listening itinerary that’ll last you until next year.