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Stan Winston Studio – Jurassic Park: Not All Digital



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Stan Winston Studio - Jurassic Park: Not All DigitalThough the digital dinosaurs were a significant part of the appeal of the original Jurassic Park as that level of realism had never before been reached in cinema, many of the shots to feature dinosaurs were actually full-scale practical robotic creations, conceived and produced at Stan Winston Studio.

Two key artists at Stan Winston’s side from the early 1980s until his death in 2008 are Shane Mahan and John Rosengrant. Now, the pair of craftspeople is together in a new company called Legacy Effects, but 20 years ago, they were ready to release their most ambitious film to that point – Jurassic Park.

The team at Stan Winston Studio spent a year building all of the practical dinosaurs which would shoot live on the set of the film, directed by Steven Spielberg and photographed by Dean Cundey. After production wrapped, Industrial Light and Magic matched their computer-generated dinosaurs to SWS’ designs and emulated their movements which were all achieved during principal photography. In this exclusive interview with each man, they discuss how they created the dinosaurs and reflect on the project which is now being released in a new 3D version for the film’s 20th anniversary.

Shane Mahan

How did you first hear about Jurassic Park when you were working as an artistic director at Stan Winston Studios?

Mahan: “Jurassic Park” was first a weird term that didn’t mean what it means today. There was a galley of a Michael Crichton book that was unpublished. Someone had read and known about the book that was coming out. It was described as Westworld meets dinosaurs – robot replicas. Then, we got deeper into the process. An early draft of the book was submitted by someone to Stan. There was excitement about the potential development of this property. When we found out that it was an island with a mad genius who recreates flesh and blood dinosaurs from fossils, it became very exciting. Stan became aware and started to pursue it heavily. At the time, there wasn’t a huge digital component. There were rudimentary beginnings of CG, and stop/go-motion, and practical. Because we had done a large creature with the queen alien [from Aliens], Spielberg’s people came to us. Stan had missed the E.T. mark at some point in his career. We had done the Amazing Stories television show; Stan had always wanted to do something with [Spielberg]. It was a personal calling to Stan to fill what he didn’t get to be a part of – E.T. We pursued hard with Crash McCreery’s concept drawings, and we did some fifth scale sculptures just to prove what we could do. This was before there was an award of the show. Everything kind of fell into place.

Was Stan Winston Studio given the show based on the drawings and sculptures right away or did it take time?

SM: Stan was eventually awarded the full show. We had no idea in the world how to do it. But it’s key to be given the opportunity to figure it out. It had never been done to that scale til then. We studied everything possible that could be done – The Land that Time Forgot, Godzilla. John Rosengrant and Crash were in raptor costumes for some of the effects. The script wasn’t complete, but Steven knew exactly what dinosaurs in which sequence would be shot: the spitter, Brachiosaur, Gallimimus, etc. We were able to start doing designs and maquettes back and forth.

Did you build the dinosaurs well in advance because they were full-scale?

SM: We were building certain dinosaurs before the script was complete. The sequences would get fleshed out and we had storyboard meetings over what was real and what was animation. Phil Tippett was going to do go-motion animation. Phil was going to do his animation tests. The fifth scale rex was going to be a large size for certain shots. It was about that time that Dennis Muren at ILM did a walking test of a T-Rex that blew everybody away. Once the commitment was made to do the animation in that style, we decided which shots would be real, a physical shot, with a stationary dinosaur with the illusion of movement. The only dinosaur that didn’t have a digital component was the spitter. No animation on that one; sick triceratops was also just lying there, done purely with animatronics. The baby raptors that come out of the eggs were purely puppets.

Did ILM design any dinosaurs or did your studio originate their artistic appearance?

SM: We developed all the sculptures and physical looks of the dinosaurs. Stan Winston Studios created every species look. They were replicated by ILM. From Crash’s early work to the end of the work there is a transformation. It was a real backbreaker of large-scale things which are really phenomenal. The T-Rex development set the tone of what Crash would ultimately sketch. He was doing pencil sketches. No one was using Photoshop or ZBrush. Computer modeling programs – a whole global industry was created by Jurassic Park. It just sprung – pierced the veil of everything and the world changed after that film.

How long of a period did you have to create everything at SWS?

SM: It was a two-year process of construction and shooting. Avatar was the only other film that’s been longer. That’s been rare. Two years was luxurious. It still didn’t feel like enough time. Nothing had ever been done to that size and sophistication – hydraulic engineers and motion bases – and that was 20 years ago. There were people that we met that were specialists from the theme park arena – they had an understanding of physics and hydraulics. You couldn’t move something of that size without hydraulics. There was a large component of big rigs. Everything was built in-house. You outsource materials.

Were their different groups of people at SWS to create the various dinosaurs?

SM: At that point, we had divided up teams who worked on an aspect from start to finish. We supervised the teams. It was like the guys here at Legacy: myself, John, Alan Scott and Lindsay McGowan. I was in charge of the spitter and I went onto the T-Rex body portion artistically with Richard Landon and the mechanical team. Chris Swift was doing the raptors with Greg Figiel. Andy Schoneberg was doing the Brachiosaur on the art side. Shannon Shea was doing a baby triceratops. Joey Orosco did the sick triceratops. We were on our own course and those teams were on set to operate them. I was supposed to go on set for the T-Rex, but I missed out on operation and went back to finish the spitter – one of the last things to shoot. It was towards the end of the movie. I was in the studio sending it to set. There were repairs to do at night. I spent more time on set on the second film.

Where did you shoot the spitter towards the end of production?

SM: At Universal on Stage 27 in the water tank stage for eight days of shooting for the spitter. Spielberg cut a bunch of stuff just to end it – the end of a long grueling show. He was ready to go to Poland to do Schindler’s List. Sequences were cut out.

Was there a sense that you were breaking new ground by mixing your animatronic characters with the computer-generated animation?

SM: There was no contingency to fail. Everybody worked really hard to get the animation correct. It was a new application for what [ILM] were doing. A lot of care went into the movement they way things were animated.

How do you feel about the mixing of those techniques now, 20 years later?

SM: People will be really shocked at how visceral both techniques work together onscreen. I was pleasantly surprised at how great and alive the animatronic dinosaurs feel. The digital sequences were groundbreaking. The T-Rex attack scene is one of the best things done as a whole scene – it’s scary and I could watch that over and over again. I hope it’s well received 20 years later and that 3D adds an element.

In the end, isn’t it true that the dinosaurs are not ultimately on screen very much for how big of a statement that film made?

SM: If you were to add up all the dinosaur shots – there are only 14 minutes of dinosaurs in the movie. The proportion of live action to animation was 70-30. Today it would be sadly enough 97% animation and a mere 3% of animatronics. Steven was very well prepared and knew how to shoot things, and shot the shots and it was done. The budget was $65 million for the whole movie. Back then, it seemed huge. Now, that’s a medium-level film. It was one of Stan’s proudest moments. It never got any better for him.

John Rosengrant

How did you first come into the project, as you were one of Stan’s key operatives at the time?

John Rosengrant: I was running point. It was exciting when Stan came down and gathered the key guys and told us that we were starting to work on Jurassic Park. As kids, we were huge dinosaur fans. It was super exciting. Everybody wanted to get involved on every level. I helped oversee all of them, but my involvement became heavy in the raptors as I wore a raptor suit. I didn’t have much to do with the spitter character – Shane was that guy.

Did you feel as though you had adequate prep time to create those characters?

JR: We had a year to build everything. Now, we’re lucky to get four months. Back then, it was quite the prep. All of that prep made it such a groundbreaking movie. It was planned well. It was an amazing experience. What we were doing animatronic-wise was quite amazing. Stan got called into the part because of the queen alien who was pretty large, but it didn’t really prepare us for the bigger characters. A whole new method had to be created.

How did you develop the size and movement of these huge characters?

JR: The T-Rex can go from zero to 60 in a millisecond and stop on a dime. When you are creating big animatronic characters, that’s a problem. It comes to a stop and shakes or misses it’s mark – it’s not precise. We had to write programs in the computer-control system of these hydraulic dinosaurs to stop on a dime and not wiggle. It was a 36-foot long T-Rex 18-feet tall on a motion base. We had to raise the roof because he was too tall. It was a 20-foot ceiling so it ended up going up quite a few more feet to have space when we sculpted him in clay. Today, what we would do and what we did on Jurassic Park III when we created the Spinosaur, we would sculpt it digitally, mill it out in a big foam, and put it together on blocks of foam and detail it. The technology has gotten much better.

How did that motion base give the T-Rex all of his movement capabilities?

JR: We repurposed an aircraft motion base to fit our needs. We built a telemetry device to control the T-Rex. It was a mechanical bone structure representation in 1/5 scale. He was still almost six-feet long. One person was in control of the tail, another the midsection and hips and another guy in the head-neck area. Someone was wearing a telemetry suit to control the T-Rex arms with his own arms. This information is being translated to this hydraulically controlled T-Rex in real time. We really had a very organic control over this puppet – this giant puppet.

Did every bit of dinosaur work occur in the SWS building on Valjean in Van Nuys?

JR: It was all done in the Valjean and Hart Street building which piggybacked into the Valjean building – it all felt like one – every inch of that place was covered in some type of dinosaur – sick triceratops, spitter, raptor, a section of the Brachiosaur and other models in various scales that were going to be scanned in by ILM which would serve as the prototype. They would be scanned in and tuned up. The technology has come a long way but is the foundation for the way things are done today. The CG stuff was a gigantic game changer. Even the way we were making molds: we cured parts in the oven that couldn’t warp. We tried different molding materials and epoxies with syntactic backing so that they could be lightweight. Fiberglass molds can warp and there are inherent dangers there.

Of all the characters, was the T-Rex the clear “hero” dinosaur for the show?

JR: The T-Rex had a huge influence. A year before we were designing, that was the marching order – to be the most realistic dinosaurs that had ever been onscreen and incorporate the paleontology information. The T-Rex wasn’t upright and dragging his tail. We didn’t want to stray from what science is. The raptor is based on a velociraptor. Those animals were smaller than the ones we were putting in the movie. Oddly enough, life imitates art, but they found right before or during Jurassic Park that was dubbed the Utah raptor which was the same size as the one in Jurassic Park. We tried to make them as real as possible. The dilophosaur was a bigger animal than what we actually made but his anatomy was true to what it really was. It was based on what the real thing was. Like any of these animals, they could be any size. The T-Rex was a moderate size one.

How do you feel about your work on the film now, 20 years onward?

JR: I was very proud and it holds up. I have no worries that it will look sharp in 3D. I did the press day a year ago when it came out on Blu-ray. I watched it again and relived the experience. I’m very proud of that work. It holds up and is one of the amazing things that I’ve been involved with. My son was born and one of the nurses found out and was flooding me with questions. That was all you hear people talking about around you. It was a game-changer in pop culture.

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Spoilers: Which Major Walking Dead Actor Might Leave the Series After This Season?




Like many of you out there, I gave up on AMC’s The Walking Dead a long time ago. In fact, I gave up after they fired Frank Darabont following the horrendous second season.

That said, I’m not bitter towards the series, and hell, even I watched the season premiere where Negan beat the brains off Big Red and the dude from Mayhem.

Also, I’m aware there has been some controversy surrounding the “death” (yeah, right) of Chandler Rigg’s character. I have no opinion on the matter.

Speaking of character deaths, we might want to expect another this season as it looks like Lauren Cohan, aka Maggie, has taken another job on the ABC pilot “Whiskey Cavalier.”

While this doesn’t immediately mean Cohan’s Maggie character will kick the big old zombie-bucket… it pretty much means that.

Variety reports that Cohan has been in negotiations with AMC for months over her return, but she does not currently have a contract for the ninth season and will instead take the lead in the new ABC pilot.

Do you think this means Maggie is done for? Let us know below!

“The Walking Dead” returns on Sunday, February 25th.

Season 8B Synopsis:
All-out war has had a devastating impact on every person involved. The communities themselves are fractured. Alexandria has been destroyed, the people at Hilltop finds themselves pinned, and the Kingdom is shattered — half of them dead, the other half controlled by the Saviors.

At the very center — Rick, having been distracted by the conflict, has just returned home to learn that Carl, who heroically shepherded the Alexandrians to safety during Negan’s attack, has been bitten by a walker. Once his sole motivation in this otherwise stark existence, Rick is forced to deal with this reality. Carl has always been a beacon of hope, a symbol for the remaining thread of humanity — lessons that the survivors around him would be wise to take with them as this war surges onward.

But Rick isn’t the only person who’s living in peril. Aaron and Enid are in a dire situation at Oceanside — unclear if they’re in friendly territory, or if they’ve just made new enemies. Father Gabriel will do his part in attempting to smuggle Dr. Carson safely back to the Hilltop, and a pregnant Maggie is wrestling with the many moral gray areas that come with leadership during war. In a standoff with the Saviors, she must decide how to proceed with the dozens of POW lives she’s currently in control of, as well as new complications that come with being a leader.

In addition to the war, Negan continues to deal with struggles within his ranks as workers, traitors, and others’ thirst for power cause conflict at the Sanctuary. Having gifted the Saviors a major victory, Eugene’s loyalty is repeatedly tested as new obstacles present themselves.

As all-out war consumes us, the line between good and evil continues to blur. People fighting for what they believe in. Everybody working together for something bigger — to feel safe and have a world worth living in.


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Filthy and Fine! The Best Shots of Ash vs. Evil Dead



The Evil Dead franchise is my all time favorite horror series, which evolves its mythos with each entry. Of course, the original Evil Dead has been just a straight-up horror film, but thanks to the fateful meeting of filmmaker Scott Spiegel, director Sam Raimi took the franchise into a strange comedic territory, using slapstick while still keeping the tones of sheer terror. What makes this terror stay with the franchise even with Ash’s loudmouth persona is it’s influential and inspiring camera work that Sam Raimi makes a legend behind the camera.

After years of waiting for the master of horror to return to the Evil Dead franchise, our palates were satiated with “Ash Vs Evil Dead” which continued the inspiring cinematography. With two seasons of a television show under Raimi’s watchful eye and a third season on the way, I took a look at every episode in the series to see if each director on board the project kept that eye for cinematography and shooting style. The series was notorious for it’s over the top gore and gags and I could’ve sat here and just gushed over the geysers of blood emitting from every orifice in the show, but, what I found in each episode brought more and more to the table. There are still horrifying shots to balance out the comedy of the show, but there are also amazing character moments within that foreshadow and evolve each character.

Think about it, other than Ash we’ve never had a cast of characters that survived more than two minutes but now there’s a crew of Ghostbeaters! Don’t worry as we still have randoms coming in and out that leave you to ponder, “How long can this poor Shemp live?” as they burst into blood and viscera. There are shots that revel in the grotesque, but there are also shots that revel in who our heroes are and delve into their psyches, the specialty of the Deadites! For those who’d like to follow along with the shots in the show, I’ve given you the time these shots show up if you’re watching the show on Netflix skipping the recaps.

To see the images in their full-size glory, give them a groovy little click!

S1E1: “El Jefe”
Directed By Sam Raimi
The flashlight twirling on the ground illuminating the scene as it spins on the two detectives faces gives way to one of the best sequences in the series. As Amanda’s deadite partner attacks her, the light spins furiously with the actions of the scene as she tries to retrieve her gun. When she retrieves the gun and aims it at the deadite the audience member would get a sigh of relief that she would triumph but is then tricked into terror. The flashlight spinning becomes slower and slower on both their faces as the man cries in pain pleading to his partner. The light illuminates his transformation back into a deadite horrifyingly for a slow dread filled shot. This shot and sequence show Sam still has it and sets up the series for what’s to come.

S1E2: “Bait”
Directed By Michael J. Bassett
As Ash brings down the cross upon the ground the camera pans to Pablo and Kelly with a bright sunrise upon them. While the horrors of the night are over it is this sunrise the signifies the dawning of Kelley’s new life and her dialogue over this shot swears her vengeance.

S1E3: “Books From Beyond”
Directed By Michael J. Bassett
Up until this point, Ruby has remained a mystery and not given us a sense of danger. Against the howl of the windmill in the background bathing in the moonlight we see her unleash the Kandarian dagger upon the already impaled deadite with a smirk on her face. This shot unravels her mystery bit by bit hauntingly as the first person besides Ash to stare down a Deadite with no fear.

S1E4: “Brujo”
Directed By David Frazee
The Brujo’s entire set up is pretty creepy with all sorts of totems that he utilizes for good but look haunting. When Kelly steps into the barn possessed by Eligos the totems come to life and react to the evil stepping before them. The best one though is the face that quickly begins to disappear bit by bit as Kelly approaches. It utters the word Mentirosa, Spanish for a liar, as she steps forth, giving way to a visually striking and terrifying warning.

S1E5: “The Host”
Directed By: David Frazee
Pablo bids farewell to his youth and tutelage under the Brujo while stepping into a new life with Ash that is more in tune with his family’s spiritual upbringing. With each totem lighting up as Pablo walks by the shots build Pablo’s feelings of loss toward a teacher as Pablo emerges a warrior that foreshadows his importance later to come as the first magical force of good in a fight that’s only ever cast spells of evil.

S1E6: “The Killer of Killers”
Directed By Michael Hurst
This is one of the most hilarious yet meaningful shots of the episode. Amanda’s boss has become a deadite ready to kill her. Ash shoots Amanda’s boss in the head, making her question the authority she had adhered to so much. Her idea of Ash as a villain changed with that charming Smile and look to Amanda in a gory pose over the lower jaw of her former boss. Ash looks to her like Uncle Sam simply saying join us! Blood and viscera flowing around him like a fountain. Dangling legs in the background as an added bonus!

S1E7: “Fire In The Hole”
Directed By Michael Hurst
Actions in combat can tell a story just like any dance. The compatibility between our heroes is evocative of Ash and Amanda’s budding romance during the entire sequence. However, it is this one masterful shot of the two working in unison dodging hellfire that tells the story of warrior’s love lit by demon fire!

S1E8: “Ashes to Ashes”
Directed By Tony Tilse
Ash can never escape the past it seems as the series goes on. He is hesitant to trust Pablo and Kelly as friends in his adventure for fear of losing them like he has lost so many others. This infamous shot from Evil Dead 2 is one of the few things that could make him question his machismo. This time he doesn’t even bring the chainsaw down on his beloved Linda but is forced to watch as an invisible chainsaw comes down upon her head forcing him to be reminded of what he did. This plays heavily into his decision making near the end of the season.

S1E9: “Bound In Flesh”
Directed By Tony Tilse
We finally get to see the book speak and beg Ash to not destroy it. This is something we’ve become accustomed to in the comic series, but have never been treated to the book itself speaking to Ash otherwise. We as the audience become the eye of the book and in true Evil Dead fashion watch, Pablo scream as the camera rushes toward him and he fuses with the book. This moment is the change in Pablo that clashes with his new direction discovered in the shot in Episode 5, which then tortures him internally until the end of season 2 where he is constantly being pulled by the necklace of the Brujo and the evil of the books spells.

S1E10: “The Dark One”
Directed By Rick Jacobson
A dreary moonlight shot of blues against the cabin looking ominous as Kelly stares on drenched in blood and anger. It’s a hauntingly beautiful shot. Kelly has fully embraced herself as a ghost beater and is done being tormented ready to start saving her boys. For a lot of characters, this could easily be a breaking point, but this shot affirms Dana Delorenzo as Kelly among some of the most powerful and able Final Girls on the rise.

S2E1: “Home”
Directed By Rick Jacobson
This shot is very telling of Ruby’s betrayal to evil. As her children surround and attack her, she is obscured by darkness and where she lies in terror a bright light emanates from behind her illuminating the scene as if to show her becoming a hero against evil.

S2E2: “The Morgue”
Directed By Tony Tilse
When this episode aired it was one of the most talked about and disgustingly depraved things to see. A simple Camera rig in front of Ash as he struggles to get out of a corpse, pubic hairs and dick swinging in his face. If Dead Alive wanted to take Evil Dead’s title of biggest gross-out scenes, then “Ash Vs Evil Dead” took the title back with excrement and body fluids all over our hero.

S2E3: “Last Call”
Directed By Tony Tilse
There are a ton of great shots of the evil Delta but perhaps the best one is this single frame of Lacey telling her boyfriend she loves him as he is splattered across the windshield. Blood and glass between them as they try for one last kiss against the fire and demonic lighting coming from the Delta and then splat! It’s a small touching moment that makes Lacey’s character a bit more sympathetic as the show goes on. As for her boyfriend? Well, I told you there would be plenty of Shemps to kill off.

S2E4: “DUI”
Directed By Michael J. Bassett
After splattering Ash’s dad across the street, The Delta pulls up with a camera spin into the grill revealing an eye stuck in it. Ash’s one true love, his car, that’s survived everything has turned against him and killed his father just as they had reconnected. A perfect role reversal as Brock William’s severed eye is now staring down Ash through the grill of the car. No longer a window into Brock’s soul, but a sick vision of Ash’s love turned enemy.

S2E5: “Confinement”
Directed By Michael J. Bassett
Flashing between light and darkness as the skin is ripped and blood is splattered gives us a horrifying look for the first time at the main antagonist of the season. Baal emerges from the flesh of humanity showing how we are all merely tools for his psychological deceptions.

S2E6: “Trapped Inside”
Directed By Mark Beesley
The moon reflects an eerie light upon Cheryl’s picture as it begins to bleed like the statue of Mary. The innocence of Ash’s sister was never saved and her soul weeps as the flesh is resurrected for evil’s bidding.

S2E7: “Delusion”
Directed By Mark Beesley
This entire episode is about breaking down Ash’s spirit and character, making him think he’s truly insane. As he’s at the breaking point he sees his friends and his love for them saves him. It’s a really simple shot that’s amplified by Bruce’s performance, but that disturbed look against the shadowy bars across his face in the dreary room give him his eureka moment where he comes down from his insanity and understands what he has to do to win.

S2E8: “Ashy Slashy”
Directed By Tony Tilse
Throughout the season the town builds up a boogeyman mythos in Ashy Slashy that we know as an audience member isn’t true but this shot brings Ashy Slashy to life. That boogeyman becomes real as the straight jacket becomes Ashy Slashy’s costume and the fire created by the chainsaw shows a side of Ash we’ve never seen. In this shot, we are convinced he had become a mindless killer.

S2E9: “Home Again”
Directed By Rick Jacobson
We’ve only ever heard his voice and seen his ghost save for a few shots of him discovering the Necronomicon in Evil Dead 2. Professor Knowby watches his student, Tanya, bleed out on the floor. She looks up at her mentor with horror as light swings back and forth casting shadows on his face. He is almost serial killer in nature and the shot reflects how his quest for knowledge outweighs his humanity. We see Professor Knowby and his daughter Ruby are not too dissimilar.

S2E10: “Second Coming”
Directed By Rick Jacobson
The finale brings Ash back to the cabin having to completely confront his past to change the future. With Pablo dead, because of Ash’s own follies, it is in the ashes of Ash’s dark past that Pablo is reborn, no longer tormented by the Necronomicon he takes his first breath as a new human. The evil within him gone and his life ready to begin anew.


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McKenna Grace Snags Lead in Rob Lowe’s Remake of The Bad Seed



Okay so, evidently Rob Lowe is remaking The Bad Seed. Meh, I’m interested. But wait, evidently it will be a Lifetime original film. Urgh, interest is waning.

All jokes aside, I’m intrigued by this remake. Not only is it set to star Rob Lowe, but the man will be directing and executive producing as well.

Another interesting variation is that this film will follow Lowe’s father figure dealing with the evil child, instead of the original film’s mother character played by Nancy Kelly.

And on top of that, today we have news via Deadline that McKenna Grace (Amityville: The Awakening) has been cast as the titular bad seed, Emma, and Patty McCormack – who played the evil little girl in the original, and received an Oscar nomination for performance – will co-star as the psychiatrist who treats Emma.

Grace will next be seen in the Netflix series The Haunting of Hill House from director Mike Flanagan (Hush, Gerald’s Game).

The Lifetime remake is directed and executive produced by Rob Lowe from a script by Barbara Marshall. Lowe as executive produces with Mark Wolper and Elizabeth Stephen and stars alongside Patty McCormack and McKenna Grace.


Lowe plays a single father who seems to have everything under control. But when there is a terrible tragedy takes place at his daughter Emma’s (Grace) school, he is forced to question everything he thought he knew about his beloved daughter. He slowly begins to question if Emma’s exemplary behavior is just a façade and she played a role in the horrific incident. When more strange things begin to happen, he’s faced with keeping a terrible secret to protect Emma, but ultimately must stop her from striking again.


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